The Performance Studies Reader

by BIAL; HENRY

• ISBN13: 9780415772754
• ISBN10: 0415772753
• Edition: 2nd
• Format: Paperback
• Copyright: 2007-05-21
• Publisher: Routledge

Summary

Following on from the highly successful first anthology of critical and theoretical writings on performance studies, this is an updated and significantly expanded second edition which brings the anthology up to date with current debate. The new edition contains expanded introductory essays and eight entirely new pieces, and is cross-referenced with Richard Schechner's second edition of Performance Studies: An Introduction. The two volumes combine perfectly to offer a unique and complete teaching resource. This important collection is also widely used by students and scholars around the world as a stand-alone text, offering a stimulating introduction to the crucial debates of performance studies. Collecting together key critical pieces, the Reader provides an overview of the full range of performance theory for undergraduates at all levels, and beginning graduate students in performance studies, theatre, performing arts and cultural studies.

Table of Contents

Contributors	p. xii
Acknowledgements	p. xix
Introduction	p. 1
What is performance studies?	p. 5
Performance studies: the broad spectrum approach	p. 7
Disciplines of the text: sites of performance	p. 10
The liminal-norm	p. 26
Professing performances: disciplinary genealogies	p. 32
Performance studies	p. 43
Performance studies in an age of terror	p. 56
What is performance?	p. 59
Performances: belief in the part one is playing	p. 61
Blurred genres: the refiguration of social thought	p. 66
What is performance?	p. 70
Life the movie	p. 76
Marina Abramovic: witnessing shadows	p. 78
Ritual	p. 87
Liminality and communitas	p. 89
"Performance" and other analogies	p. 98
"The blood that runs through the veins": the creation of identity and a client's experience of Cuban-American Santeria Dilogun divination	p. 107
Saint Orlan: ritual as violent spectacle and cultural criticism	p. 118
Performative commemoratives, the personal, and the public: spontaneous shrines, emergent ritual	p. 125
Play	p. 135
The nature and significance of play as a cultural phenomenon	p. 137
A theory of play and fantasy	p. 141
The ambiguity of play: rhetorics of fate	p. 152
Just doing	p. 159
Falling apart to stay together: deep play in the Grand Marais Mardi Gras	p. 164
Performativity	p. 175
How to do things with-words: lecture II	p. 177
Excerpt from "Signature Event Context"	p. 184
Performative acts and gender constitution: an essay in phenomenonology and feminist theory	p. 187
Introduction to Performativity and Performance	p. 200
Theater and anthropology, theatricality and culture	p. 208
Performing	p. 217
A dialogue about acting	p. 219
The actor's technique	p. 223
A dream of passion	p. 229
Presenting and re-presenting the self: from not-acting to acting in African performance	p. 231
Reconsidering Stanislavsky: feeling, feminism, and the actor	p. 249
Performance processes	p. 263
First attempts at a stylized theatre	p. 265
The oral artist: training and preparation	p. 274
The performance text	p. 280
The deep order called turbulence: the three faces of dramaturgy	p. 300
The archaeology of performance	p. 310
Global and intercultural performances	p. 321
Performing ethnography	p. 323
Of mimicry and man	p. 337
Culturas-in-extremis: performing against the cultural backdrop of the mainstream bizarre	p. 345
Reverend Billy: preaching, protest, and post-industrial flanerie	p. 357
Performance studies: interventions and radical research	p. 369
Translating performance	p. 381
Index	p. 337
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