Abstract

Inside the brick and stone of San Francisco’s historic Old Mint, Collected Works’ site-specific production of Jean Genet’s The Balcony mobilizes the play’s ambiguous temporality to underscore the role of financialization within multiple historical moments. Within the slippage between a past, present, and virtual charged with desires for power and capital, the spectator, too, becomes complicit in the consumption and construction of capital.

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Additional Information

ISSN
1531-4715
Print ISSN
1054-2043
Pages
pp. 139-145
Launched on MUSE
2016-05-28
Open Access
No
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