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An afterword
Richard J. Hand

Frankenstein made the protagonist a computer programmer who strives to create artificial life in an attempt to rebuild his reputation after causing the stock market to crash. Away from theatre, in the arena of stand-up comedy, Richard Todd’s Fringe act was promoted entirely in Frankensteinian terms, his routine presented ironically as a tragedy of ambition that needs to be appeased now that it has risen in life. Similarly, a performer called ‘Tape’ worked with the Gravel Road Show to offer a hybrid of clowning, devising, and performance art in ‘the creation of a pop

in Adapting Frankenstein
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David Annwn Jones

of the opening of these spaces’ (Kennedy, 2016 , personal correspondence). 59 Christine Kennedy, scripts from The White Lady’s Casket , 1996 9.5 Performance art, body art, tattoos and facepaint

in Gothic effigy
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David Annwn Jones

Gothic is that at present it remains a popular art form, from graffiti to performance art, from altered books to cinema, and from skull bracelets to prestigious fashion shows held in international museums. It is possible that, partly because of its popularity and ubiquity, it has been largely unnoticed that recent forms of Gothic visual expression comprise vital links between the ‘Sensation’ art shows

in Gothic effigy
Dean Lockwood

outcome’ (142). Attali’s observations coincided with the emergence of British post-punk music. My focus here is on the band Throbbing Gristle (typically abbreviated as ‘TG’) who created what they called ‘industrial’ music. TG, formed in 1975, originated as the musical incarnation of the performance art group, COUM Transmissions. Initially conceived as a

in Monstrous media/spectral subjects
Clive Barker’s Halloween Horror Nights and brand authorship
Gareth James

performance art, literature, illustrations, and comic book adaptations of his work. However, as expensive flops like Nightbreed proved, trying to create a Barker-branded franchise spanning films and other forms of merchandise could be problematic. What is important to focus on, then, is that the rides were less about extending a specific Barker-written franchise like

in Clive Barker
Steven Bruhm

-hood sexuality subtends the readings of a man who remains interesting more for the postmodern indeterminacy of his face and race than for any ‘meanings’ – any interventions into normative sexuality – produced by his ‘art’. If we speak of Jackson and transgressive sexuality, we must be sure to code it as scandal , and to offer no sophisticated or engaged reading of the actual performance art, for such

in Queering the Gothic
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Moving from trauma to witness in the nightmares of Bronx Gothic
Carolyn Chernoff
Kristen Shahverdian

( Boston : Houghton Mifflin ). Oliver , Kelly ( 2001 ), Witnessing: Beyond Recognition ( Minneapolis : University of Minnesota Press ). Oliver , Sophie Anne ( 2010 ), ‘ Trauma, Bodies, and Performance Art: Towards an Embodied Ethics of Seeing

in Dreams and atrocity
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Fred Botting

scene of effects and affects that, further, engage and repulse audiences in the staging of often overwhelming and unbearable images. Orlan’s performance art, as it draws audiences into the cosmetic surgical procedures she undergoes, stages a horror associated with the body and representations of excesses, an art that interrogates art by linking aesthetics and deformity, pleasure and pain. Emotions are not

in Limits of horror