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You Are Dead. You Are Here. single work   drama  
Alternative title: YADYAH
Issue Details: First known date: 2013... 2013 You Are Dead. You Are Here.
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AbstractHistoryArchive Description

'A multimedia play that tells the charged story of an encounter between an American soldier and an Iraqi girl blogger in Fallujah, 2003, through the lens of the technologies that connect them.' (Production summary)

Production Details

  • World premiere is at HERE in downtown New York June 5 – 22, 2013.

    You Are Dead. You Are Here. featured Anthony Gaskins, Kathreen Khavari, and Kittson O'Neill. The production included scenic design by Mellie Katakalos, costume design by Lana Duiverman, lighting design by Robert Denton, and sound design by Chris Baine. Dramaturg/Outreach Coordinator was Heidi Nelson, and the producer was Lanie Zipoy

Publication Details of Only Known VersionEarliest 2 Known Versions of

Works about this Work

Drones, Projections, and Ghosts : Restaging Virtual War in Grounded and You Are Dead. You Are Here. Christine Evans , 2015 single work criticism
— Appears in: Theatre Journal , December vol. 67 no. 4 2015; (p. 663-686)
'The United States relies increasingly upon digital technologies and live-virtual mixed-reality environments to prepare for, pursue, and recover from asymmetrical war. However, Iraqis and Afghans modeled in such systems are structurally excluded from occupying their 'first-person-shooter' viewpoints. This essay recasts Emma Willis's use of Levinasian ethics and Judith Butler's proposal that war's framing excludes certain subjects from full humanity to address the obstacles and opportunities for ethical spectatorship that virtual war's structural occlusions pose to theatre. It does so by investigating how two recent US plays, George Brant's Grounded and Christine Evans's You Are Dead. You Are Here., which incorporates Virtual Iraq and was written by this essay's author, interrogate virtualized war to reframe and restage absent Iraqi and Afghan perspectives and human consequences. The essay argues that despite their achievements, the 'hero's journey' structure of both plays, in concert with the wider public framing of war via the military-industrial-entertainment network, nevertheless reframed the Other as a vehicle for the Western soldier-subject's cathartic crisis. Expanding on Doreen Massey's vision of space as multiple trajectories rather than a depthless surface, the essay concludes that thick mapping, such as that modeled by the Digital Archive of Japan's 2011 Disasters (JDA), offers new options for performances engaging virtualized war, allowing them to de-couple narrative structure and spectatorship by generating heterotopic and heterogeneous interpretative spaces.' (Publication summary)
Drones, Projections, and Ghosts : Restaging Virtual War in Grounded and You Are Dead. You Are Here. Christine Evans , 2015 single work criticism
— Appears in: Theatre Journal , December vol. 67 no. 4 2015; (p. 663-686)
'The United States relies increasingly upon digital technologies and live-virtual mixed-reality environments to prepare for, pursue, and recover from asymmetrical war. However, Iraqis and Afghans modeled in such systems are structurally excluded from occupying their 'first-person-shooter' viewpoints. This essay recasts Emma Willis's use of Levinasian ethics and Judith Butler's proposal that war's framing excludes certain subjects from full humanity to address the obstacles and opportunities for ethical spectatorship that virtual war's structural occlusions pose to theatre. It does so by investigating how two recent US plays, George Brant's Grounded and Christine Evans's You Are Dead. You Are Here., which incorporates Virtual Iraq and was written by this essay's author, interrogate virtualized war to reframe and restage absent Iraqi and Afghan perspectives and human consequences. The essay argues that despite their achievements, the 'hero's journey' structure of both plays, in concert with the wider public framing of war via the military-industrial-entertainment network, nevertheless reframed the Other as a vehicle for the Western soldier-subject's cathartic crisis. Expanding on Doreen Massey's vision of space as multiple trajectories rather than a depthless surface, the essay concludes that thick mapping, such as that modeled by the Digital Archive of Japan's 2011 Disasters (JDA), offers new options for performances engaging virtualized war, allowing them to de-couple narrative structure and spectatorship by generating heterotopic and heterogeneous interpretative spaces.' (Publication summary)
Last amended 7 Jun 2016 13:14:38
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