Developing work across both text-based theatre and performance, judy has forged a theatre of glorious theatricality and spontaneity which invites audiences to ‘ stretch towards each other ’ in consideration of who is given voice and why.
Rarify mac mac#
Studying at the American Academy of Dramatic Art in New York, Taylor Mac began creating original drag pieces when struggling to find work as an actor. This is a theatre of moral questioning, that is unafraid of opening up emotions, events, peoples and understandings to allow audiences to think about the world they want to create. Taylor Mac breaks down the fourth wall that Ibsen so promoted – but to create a theatre that asks its audience, as Ibsen did, to think through what it means to be engaged with the world in which we live. Deconstructing established forms and rupturing long held ideas of what constitutes the ‘popular’ and the ‘ rarified ’, judy moves across dramatic text, cabaret, burlesque, and performance art with a theatre that brings audiences from the margins into the very centre of how work is created and experienced. Avoiding binaries – Mac uses the pronoun j udy instead of ‘he’ or ‘she’ – judy refashions dramatic form to consider how we inherit and negotiate particular histories and what it means to forge new ways of thinking about how the past has been narrated.
While on the surface, Taylor Mac’s theatre may have little in common with the playwriting of Henrik Ibsen, like Ibsen, Mac works to make audiences, in his own words, ‘think out of their norms a little bit’. In a world of increased polarisation and divisions, Taylor Mac crafts work that shows theatre’s potential to bind and unite audiences, to think about how we relate to culture in varied and different forms and what it means to engage as communit ies imaginatively, ethically and politically through the act of performance.
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