64. Laub, “An Event without a Witness,” 81.
65. Peters, “Witnessing,” 23.
66. Aleida Assmann, “Truth and Memory” (lecture, UCD Humanities Institute, February 6, 2018), https://soundcloud.com/ucd-humanities/aleida-assmann-truth-and-memory.
67. Pat Palmer, The Body in Pain in Irish Literature and Culture, ed. Fionnuala Dillane, Naomi McAreavey, and Emilie Pine (London: Palgrave, 2017), 21–38, see esp. 23.
68. Peters, “Witnessing,” 23.
69. Diana Taylor, “Staging Social Memory,” in Psychoanalysis and Performance, ed. Patrick Campbell and Adrian Kear (London: Routledge, 2001), 16.
70. Bourdieu, The Social Structures of the Economy, 148.
71. Gary S. Becker and Kevin M. Murphy, Social Economics: Market Behaviour in a Social Environment (Cambridge, MA: Harvard University Press, 2000).
72. Karine Shaefer, “The Spectator as Witness?” Theatre & Performance 23, no. 1 (2003): 5–20, see esp. 7, 17.
73. Caroline Wake, “Towards a Taxonomy of Spectatorial Witness in Theatre and Performance Studies,” in Visions and Revisions, ed. Caroline Wake and Bryoni Tresize (Copenhagen: Museum Tusculaneum Press, 2013), 34.
74. Wake, “Towards a Taxonomy of Spectatorial Witness,” 42.
75. Alan Filewood, “The Documentary Body,” in Get Real, ed. Alison Forsyth and Chris Megson (Basingstoke, UK: Palgrave Macmillan, 2009): 55–73, see esp. 69.
76. Rancière, The Emancipated Spectator, 16.
77. Gareth White, Audience Participation in the Theatre: Aesthetics of the Invitation (London: Palgrave, 2013), 57.
78. Jill Dolan, Utopia in Performance (Ann Arbor: University of Michigan Press, 2005), 2.
79. Jan Assmann, “Collective Memory and Cultural Identity,” New German Critique 65 (Summer, 1995): 125–33, see esp. 127.
80. See, for example, E. Kromidha, “Social Identity and Signalling Success Factors in Online Crowdfunding,” Entrepreneurship & Regional Development 28, no. 9–10 (2016): 605–29; Roland Benabou and Jean Tirole, “Incentives and Prosocial Behavior,” The American Economic Review 96, no. 5 (2006): 1652–78; Rachel Croson, Femida Handy, and Jen Shang, “Keeping Up with the Joneses: The Relationship of Perceived Descriptive Social Norms, Social Information, and Charitable Giving,” Nonprofit Management & Leadership, 19, no. 4 (2009): 467–89; Deborah J. Terry, Michael A. Hog, and Katherine M. White, “The Theory of Planned Behaviour: Self-Identity, Social Identity and Group Norms,” The British Journal of Social Psychology 38 (1999): 225–44.
81. Rosanne Kennedy makes this argument in relation to apologies to the Australian Stolen Generation. See Rosanne Kennedy, “An Australian Archive of Feelings,” Australian Feminist Studies 26, no. 69 (2011): 257–79.
82. Hirsch, The Generation of Postmemory, 93. Favorini argues that theatre is “a connectionist rather than a storage model for memory,” Atillio Favorini, Memory in Play: From Aeschylus to Sam Shepard (New York: Palgrave Macmillan, 2008), 180.
83. Susan Sontag, Regarding the Pain of Others (London: Penguin, 2004), 66.
84. Favorini, Memory in Play, 135.
85. Louise Woodstock, “It’s Kind of Like an Assault You Know,” Critical Studies in Media Communication 33, no. 5, 399–408, see esp. 406.
86. Carol Martin, Theatre of the Real (Houndmills, UK: Palgrave, 2013).
87. Anne Cubilié and Carl Good, “The Future of Testimony,” Discourse 25, no. 1/2 (2003): 4–18, see esp. 7.
88. Patrick Duggan, Trauma-Tragedy: Symptoms of Contemporary Performance (Manchester, UK: Manchester University Press, 2012), 1.
89. See Judith Butler, Gender Trouble (London: Routledge Classics, 2006), 2–4.
90. Freddi Rokem, Performing History (Iowa City: University of Iowa Press, 2007), 19, 204.
91. Rokem, Performing History, 205.
92. Favorini, Memory in Play, 7.
93. Interview with Teya Sepinuck by Playhouse as part of the Playhouse Theatre of Witness program, Derry. July 10, 2013. https://www.youtube.com/watch?v=hJNWzN5mdTE.
94. Allen Feldman, “Memory Theaters, Virtual Witnessing and the Trauma Aesthetic,” Biography 27, no. 1 (2004): 163–202, see esp. 164.
95. Marianne Hirsch, “Connective Histories in Vulnerable Times,” PMLA 129, no. 3 (2014): 330–48, see esp. 334.
96. Peters, “Witnessing,” 39.
97. Feldman, “Memory Theaters,” 166.
98. Jasbir Puar interprets Foucault’s idea of “speaker’s benefit” to discuss this kind of cultural capital. See Jasbir Puar, “Celebrating Refusal: The Complexities of Saying No,” Bully Bloggers, June 23, 2010, https://bullybloggers.wordpress.com/2010/06/23/celebrating-refusal-the-complexities-of-saying-no/. I am grateful to Anne Mulhall for this reference.
99. Allen, “The Poverty of Memory,” 373.
100. Dolan, Utopia in Performance, 2.
101. Rosalind Gill and Andy Pratt, “In the Social Factory: Immaterial Labor, Precariousness and Cultural Work,” Theory, Culture & Society 25 no. 7–8 (2008): 1–30.
102. Teya Sepinuck, Theatre of Witness (London: Jessica Kingsley, 2013), 157.
103. Michal Givoni, Care of the Witness (Cambridge: Cambridge University Press, 2016), 44.
104. Carol Martin, “Living Simulations,” 78.
105. Carole-Anne Upton, “Northern Ireland: The Case of Bloody Sunday,” in Get Real, ed. Alison Forsyth and Chris Megson (Basingstoke, UK: Palgrave Macmillan, 2009): 179–94.
106. Fitzpatrick, “Gender and Affect in Testimonial Performance,” 132.
107. Gill and Pratt, “In the Social Factory,” 15–16.
108. See Rokem, Performing History, 204, 192. “Complete absorption” is why advertisers in particular engage empathy in their “drama-based” ads. See Jennifer Edson Escalas and Barbara B. Stern, “Sympathy and Empathy: Emotional Responses,” Journal of Consumer Research 29 (2003): 566–78, see esp. 573.
109. Conversation between author and Paula McFettridge, artistic director of Kabosh Theatre Company, Dublin, April 2018.
110. Rothberg, Multidirectional Memory, 87.
111. Didier Fassin and Richard Rechtman, The Empire of Trauma (Princeton, NJ: Princeton University Press, 2009).
112. Peters, “Witnessing,” 31.
113. Lauren Berlant, ed., “Compassion (and Withholding),” in Compassion (London: Routledge, 2004), 4.
114. Berlant, “Compassion (and Withholding),” 6.
115. Rosanne Kennedy, “An Australian Archive of Feelings,” 259.
116. See Jasbir Puar, “Celebrating Refusal,” https://bullybloggers.wordpress.com/2010/06/23/celebrating-refusal-the-complexities-of-saying-no/.