ABSTRACT
Reenactment is a form of performance that does both public and personal work. Investigations of particular events, processes, and structures must attend to how the personal, psychological, and emotional experience of reenactment speaks to matters of ethics, politics, and power (Agnew, 2007). Thus, if reenactment is concerned with the personal and affective as a means and mechanism for speculating performatively about the past (Agnew, 2007), gender is a particularly fruitful site for exploring what historical reenactment teaches us about ethics, politics, and power. Indeed, the role of affect and the personal is central to performance studies scholarship in general (Schaeffer, 2015; Hurley, 2014 ; Hurley and Warner, 2012) and specifically to work that focuses on the performance and performativity of gender in reenactment (Jones, 2014; Schneider, 2011; Merrill, 2005; Taylor, 2003).
