By Craig J. Peariso
From burning draft playing cards to staging nude protests, a lot left-wing political activism in Sixties the United States used to be exotic by means of planned outrageousness. This theatrical activism, geared toward the mass media and practiced through Abbie Hoffman and the Yippies, the Black Panthers, and the homosexual Activists Alliance, between others, is frequently disregarded as naive and out of contact, or criticized for ways condemned as foolish and off-putting to most people.
In Radical Theatrics, even if, Craig Peariso argues that those over-the-top antics have been excess of simply the spontaneous activities of a self-indulgent radical impulse. as a substitute, he exhibits, they have been well-considered aesthetic and political responses to a jaded cultural weather within which an unreflective "tolerance" masked an unwillingness to interact with tough principles. via leading edge research that hyperlinks political protest to the artwork of contemporaries equivalent to Andy Warhol, Peariso finds how the "put-on" ― the signature activist functionality of the unconventional left ― ended up turning into a necessary American political perform, one who maintains to persuade modern radical hobbies comparable to Occupy Wall road.
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