n o t e s
introduction: here and now
1 See Schechner, Performance Theory.
2 Williams, Marxism and Literature, 133.
3 Dolan, Utopia in Performance, 1.
4 Docherty, ‘‘Now, Here, This,’’ 50.
5 The contemporary is often used interchangeably with the postmodern. And while
there is a formidable bibliography on postmodernism, one informed by rigorous
debate, the term contemporary is generally left untroubled by critics. For a help-
ful introduction to this problem, see Luckhurst and Marks, ‘‘Hurry Up Please, It’s
Time.’’ Sometimes, the contemporary refers to the decades following the postwar
years—the 1950s, 1960s, and 1970s. But in the early twenty-first century, those
decades can no longer stand as current or even perhaps as recent.
6 Benjamin, ‘‘Theses on the Philosophy of History,’’ 263.
7 Carlson, The Haunted Stage, 8.
8 Roach, Cities of the Dead, 26.
9 Taylor, The Archive and the Repertoire, 16.
10 Wiegman, ‘‘Feminism’s Apocalyptic Futures,’’ 810; Roof, ‘‘Generational Difficul-
11 Roof, ‘‘Generational Difficulties,’’ 71.
12 Michael Warner’s introduction to Fear of a Queer Planet remains the most articu-
late and persuasive position on queer theory’s intellectual and political project.
13 I am indebted to Rebecca Lemon for helping me articulate this tension.
14 Pease and Wiegman, ‘‘Futures,’’ 2.
15 Wise, ‘‘ ‘Paradigm Dramas’ in American Studies,’’ 168. The essay originally ap-
peared in American Quarterly 31, no. 3 (1979): 293–337.
16 Ibid., 169.
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