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and an extratextual one (see Ette 2010a: 987- 8). On an intratextual level, literary texts present different events, narrators, and characters who often possess, articulate or represent (explicitly or implicitly) par- ticular forms of life, ways of living and thus different kinds of life knowledge. The challenge, as Ette explicates, is “to understand the dynamic modeling of characters as complex choreographies of individuals who possess different kinds of life knowledge” (ibid.: 988). Thinking of literary characters as choreographies of life knowledge, the

, however, “the simple act of gathering” at the theatre 118 Home/Fronts is crucial to create a public yet safe space for alternative representations (Editor’s 2). Colleran observes that live performance competes with the “spectacle” of media representation and its deceptive “sense of immediacy”; before theatre can achieve its own “political effect,” it must prevail against media images present in the minds of audiences (15, 20). The plays, however, do not only compete with but also integrate different me- dia: video recordings, radio snippets, choreography, music, and

“predominantly white” Manhattan environment and the manners of the old- er black generation hostile to ‘street’ culture makes it hard, almost impossi- ble, for him to do “rapid cultural 180s” à la Touré. Consider the description of a handshake routine performed by Benji’s friends Marcus and Bobby: “Slam, grip, flutter, snap. Or was it slam, flut- ter, grip, snap? I was all thumbs when it came to shakes.” Benji, who only perceives “a blur of choreography” reasons: “I had all summer to get it right, unless someone went back to the city and returned with some new variation

the silenced and the dead. They may tell their own truths and voice their individual histories; histories, that is to say, that run counter to the narratives of dominant history whose unreliability tends to be disavowed in a culture of certainty. And yet, in so doing Zero Patience also reflects on the camp classics – the MGM musicals, the choreographies of Busby Berkeley and the water-ballet revues of 24 | CAMP COMFORTS Esther Williams – in order to examine them in the act of their restag- ing. This brief analysis of Zero Patience already shows that the

). Whitehead divides his zombies into “average skels” (Z 33)—the cannibalistic group of zombies that “twist their bodies in unison,” as if following a “dumb choreography” (Z 20) to feed jointly on their human prey—and “harmless stragglers” (Z 33)—“the things” (Z 77) that form “a succession of imponderable tableaux” (Z 48) that stay immobile and completely oblivious to both the world and their possible prey forever. Counterbalancing the savage horde of the cannibalistic undead is the civil heroism of the “American Phoenix” (Z 79). Erecting barricades between their