<i>Spreading the Love</i>and using performances to prevent rape

Murphy, Aurora

doi:10.1080/13569783.2013.787259

Cited by 2 publications

(2 citation statements)

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“…Spreading the Love does not in fact overtly consider rape and sexual ethics, because local councils did not want to fund explicitly sexual art that would be placed in council-run spaces. Rather than overtly address rape, the installations disturb social positions that underpin the rape script, namely those of gender, sexuality, love, and romance, and in doing so, challenge the foundations that uphold rape (Murphy 2013).…”

Section: The Installationmentioning

confidence: 99%

“…Spreading the Love toured public spaces over Adelaide in November 2010 and 2011, popping up in public squares, shopping centers, community festivals, markets, and beaches; 15 live performances were staged, and these were video recorded, with excerpts from the footage made into 13 short films which were put online (Murphy 2013). 2 This paper analyzes the movement patterns of participants at the 15 live performances.…”

Section: The Installationmentioning

confidence: 99%

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Penetrating spaces: a social semiotic, multimodal analysis of performance as rape prevention

McMurtrie

Murphy

2016

Social Semiotics

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Penetrating spaces examines how movement is used as a semiotic resource to transform the meaning potential of the installation space Spreading the Love. This transformation underscores the rewriting of the script of rape, a scripted interaction that draws upon, yet also creates, social configurations of sexuality and gender. Being a "script", it can be rewritten, or transformed, by playing socially constructed roles differently. Drawing on performance studies theory and adopting a multimodal, social semiotic and metafunctional approach, we suggest that movement of the participants in relation to the installation and of the performance itself to different venues changes the organizational, interactional, and representational meanings of the installation, and that these changes transform the script of rape. Organizationally, participants move from one location to another so that marginalized voices become central to the destabilization of the script of rape. Interactionally, the dialogic nature of the installation enables members of the public to become the authoritative voice, "rewriting" new scripts that assert ethical relationships. Representationally, we examine how spectators can transform themselves into performers, thereby questioning the conventional participatory roles in the script of rape.

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Section: The Installationmentioning

confidence: 99%

Section: The Installationmentioning

confidence: 99%