This book will be an invaluable guide to anyone approaching the many and varied ways of discussing performance in all of it forms ¿ from theatrical and site-specific performances to live and New Media art. The many-headed nature of contemporary performance is requiring an increasingly diverse and sophisticated vocabulary from its students. The aim of this book is not only to provide a solid set of familiarities, but also to explore and contextualise the key terms that are central to any discussion of performance.
This book will be an invaluable guide to anyone approaching the many and varied ways of discussing performance in all of it forms ¿ from theatrical and site-specific performances to live and New Media art. The many-headed nature of contemporary performance is requiring an increasingly diverse and sophisticated vocabulary from its students. The aim of this book is not only to provide a solid set of familiarities, but also to explore and contextualise the key terms that are central to any discussion of performance.
Meiling Cheng is Associate Professor of Dramatic Arts/Critical Studies and English at the University of Southern California and Director of Critical Studies at USC School of Dramatic Arts.¿ Gabrielle H. Cody is Mary Riepma Ross Professor and Chair of Drama at Vassar College where she has taught since 1992. She concentrates her areas of teaching in performance studies, environmental studies, and material performance projects.
Inhaltsangabe
Part 1: Performance Editorial Introduction Section 1: Time Archive Historiography Historicity Inscription Liminality Memory Narrative/narratology Reenactment Remains Reproduction Syncopation Trace Quotation Endurance art Section 2: Space Discipline Environmental Theater Found/artificial space Hypocritical/fake space Hierarchy Landscape Theater Mise en scene Paratheater Performative Photography Prison Culture Proxemics Scenography Site Specific Performance Surveillance Virtual Performance Section 3: Action Appropriation Art Choreography Collaboration Cybernetics Dance Event Experimental Music Hybridity Liveness Matrixed/non-matrixed Mediation Media Mimesis Mimicry New Genre Public Art Negative Mimesis Performatics Play Post-linearity Propaganda Repertoire Simulacra War Section 4: Performer Actor Affect Alterity Animalworks Camp Circus Devising Digital Performance Docudrama Double-coding Drag Embodiment Emotions Ethnic Drag Explicit Body performance Extreme Performance Gender Gestus Glossolalia Parody Pornograpy Obscenity Restored Behavior Rhetoric Roles Subject Position Section 5:Audience Communitas Emotional Contagion Empathy Frame/Framing Gaze Invisible Theater Prosthetic Performance (including Critical Subjectivity and Documentation) Reception Theory Spectator Part 2: Methodologies and Turning Points Introduction Animal Studies Anti-Art Auteur Theater Body Art Ecological Theater Epic Theater Feminisms Fluxus Globalization/Glocalization Happenings Identity Politics Identification/dis-identification Intercultural Performance Intermediality Marxism Minimalism Modernism Montage Multicentricity Performance Art/Live Art Performance Studies Phenomenology Postcolonial/Subaltern Studies Postmodernism Post-Porn Modernism Robotics and information Art Semiotics/semiology Terrorism and Performance/Theater of Cruelty Transnationalism Race Whiteness
