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This final chapter explores the notion of the circus performer through Donna Haraway’s notion of the “boundary creature.” It offers a forecast for Leonora Carrington studies with close consideration to Double Edge Theatre’s lived politics. It seeks to overturn anti-intellectual views of Carrington’s œuvre in order offer new ways forward for feminist politics and creative practices. In particular, this chapter uses the model of Double Edge Theatre’s alternative lifestyle and farm as a practical investigation of Carrington’s feminism and eco-criticism. I draw on my own experiences of attending a harvest performance of Leonora’s World (2019).

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The medium of Leonora Carrington

A feminist haunting in the contemporary arts


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