Fluidity and reciprocity in the performance of caring in Fevered Sleep’s Men & Girls Dance
Amanda Stuart Fisher
on to encounters between men and girls and replaces the adult risk anxiety associated with this with care-filled interactions that generate moments of togetherness, marked out by a mode of tender and reciprocal caring. In so doing, performed care emerges in this production as a mode of resistance, opening up new understandings about structures of caregiving and care receiving in performance and rethinking the ethicaldemands of working within contexts of vulnerability and risk.
One of the key ways that Men & Girls Dance reconsiders the dynamics of the encounter
See, e.g., Walter D. Mignolo, Local Histories/Global Designs: Coloniality, Subaltern Knowledges, and Border Designs (Princeton: Princeton University Press, 2000); and David Slater, Geopolitics and the Post-Colonial: Rethinking North–South Relations (Oxford: Blackwell, 2004).
43 Shino Konishi, ‘First Nations Scholars, Settler Colonial Studies, and Indigenous History’, Australian Historical Studies , 50 (2019), 1–20; Alissa Macoun and Elizabeth Strakosch, ‘The EthicalDemands of Settler Colonial Theory’, Settler Colonial Studies, 3:4 (2013), 426, 436. For
that the encounter with
Hermione’s incomprehensible image places an ethicaldemand for a
‘response’ on spectators. 21 In this view, the open-endedness of
the final scene demands action on the part of spectators rather than
encouraging the relaxed celebration of the ‘inescapable mediacy
of language’. 22
Knapp argues that Leontes’s awakening of faith in the image of