Theories of performance:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Los Angeles, Calif. [u.a.]
SAGE
2008
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Literaturverz. S. 265 - 288 |
| Beschreibung: | XV, 303 S. Ill. |
| ISBN: | 9781412926379 9781412926386 |
Internformat
MARC
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| 100 | 1 | |a Bell, Elizabeth |e Verfasser |4 aut | |
| 245 | 1 | 0 | |a Theories of performance |c Elizabeth Bell |
| 264 | 1 | |a Los Angeles, Calif. [u.a.] |b SAGE |c 2008 | |
| 300 | |a XV, 303 S. |b Ill. | ||
| 336 | |b txt |2 rdacontent | ||
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| 500 | |a Literaturverz. S. 265 - 288 | ||
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Datensatz im Suchindex
| _version_ | 1804142727566196736 |
|---|---|
| adam_text | Contents
List of Boxed Features x
Preface xiii
Chapter One: Introducing Theories of Performance 1
Theory in Perspective: Can You See the Forest for the Trees? 1
What Is Theory? 2
Theory Questions: What? Why? How? 2
Kinds of Theory Questions 3
Assumptions about How Language Operates in Theory 4
Two Models of Communication 6
The Transmission Model of Communication 7
The Ritual Model of Communication 8
Performance as a Communicative Form 9
Assumptions about Performance: Mimesis, Poiesis, and Kinesis 12
Performance as a Key Term 15
Definitions of Performance 15
Claims about Performance: Constitutive, Epistemic, and Critical 18
Performance Is Constitutive 19
Performance Is Epistemic 20
Performance Is Critical 24
Rethinking Theory and Performance 27
Chapter Two: Constituting Performance 29
Theory in Perspective: What Makes a Performance? 29
The Nature of Performance 30
Performance Competence: Do You Know What You re Doing? 30
Audience Evaluation: How s It Going? 32
Heightened Experience: Is This Special or What? 33
Constituting Performance through Framing 35
Framing Theatre, Art, Poetry, Conversation, and Media 36
Frame Breaking, Confusion, and Slippage 38
Constituting the Performance Frame through Keying 41
Constituting Performance through the Performer 43
Constituting Performance through Audience 47
Rethinking Performance 52
Chapter Three: Performing Texts 55
Theory in Perspective: What Is a Text? 55
Humans and Symbol Use: Text Me Later. OK? 56
From Orality to the Page to the Screen 57
Mnemonic Thought: Thinking Memorably 57
Rules of Oral Expression 58
Chirographic Thought: Thinking Alone 60
Typographic Thought: Thinking through the Printed Page 62
Electronic Thought: Thinking Textually through Orality 63
Interpreting the World as Text 65
How Are We Taught to Read Texts? 65
The Science of Criticism and the Art of Oral Interpretation 67
All the World s a Text: To Infinity and Beyond 68
When Text Meets Performance 72
Drama, Script, Theatre, and Performance 74
Assumptions about Texts: Canon, Textuality, and Materiality 75
Canonical Vehicle of Authority:
You Know Why I Pulled You Over 75
Textuality: Play, Production, and Practice 77
Materiality: Can You Hold It in Your Hand? 78
Interpreting Texts 79
Text Versus Performance 82
Rethinking Texts 83
Chapter Four: Performing Drama 85
Theory in Perspective: How Is the World a Stage? 85
The Drama of a Roller Coaster Ride 86
Reigning Metaphor: Life as Drama 87
What Is Aristotelian Drama? 89
Dramatic Form: Arranging the Parts 89
Dramatic Conflict: Struggling With 91
Dramatic Action: Doing, Making, and Understanding 91
Audience and Dramatic Form 92
Kenneth Burke s Dramatism: Life Is Drama 95
Ritual Drama as Hub: Two Kinds of Sacrifice 98
Analyzing Motives: Beyond the Pentad 100
Performing Tragic and Comic Attitudes 104
From Dramatism to Social Drama 105
Breach: Cutting the Tie that Binds 107
Crisis: Contagion and Participation 107
Redress: Repairing the Social Order 108
Reintegration or Schism: Back to Normal. Or Not 108
Analyzing Social Dramas 109
Social Drama: Raw Material for Performances 110
Rethinking Drama 112
Chapter Five: Performing Culture 115
Theory in Perspective: How Do Cultures Perform? 115
What Is Culture? 116
Approaches to Studying Culture 117
From Studying Man to Theorizing
Movement and Play 120
Rites of Passage: Moving through Culture 121
Categories of Rites of Passage 122
From Individuals to Cultural Membership 123
Homo Ludens/Playing Man 125
Characteristics of Play 125
75 Ritual Play Really Believed? 126
Characteristics of Ritual 128
Rituals Are Performed 129
From Great Tradition to Cultural Performance 130
Elements of Cultural Performances 131
The Performance Turn in the
Study of Culture 132
Liminality: Betwixt and Between 133
Communitas: Magical Togetherness 134
What Do Cultural Performances Do? 137
Performing History 140
Performing Others 140
Moral Mapping and Dialogic Performance 141
From Dialogue to Responsibilities 142
Rethinking Culture 144
Chapter Six: Performing Social Roles 147
Theory in Perspective: Who Am I? 147
Don t Play Games with Me! 148
From Social Psychology to Gender Roles 149
What s Wrong? 150
What s Right? 151
Teams: Performing Together 153
Regions: Performing Spaces 155
When Good Performances Go Bad 156
Impression Management 156
Misrepresentation 159
Role Distance and Discrepant Roles 161
Stigmas and Spoiled Identities 165
Performed Strategies of Stigma 167
Passing and Covering 168
Passing Genders and Races 169
Performing Disability 170
Rethinking Social Roles 171
Chapter Seven: Performing Identity 173
Theory in Perspective: How Am I a Subject? 173
Do Social Roles Assume a Foundational Self? 174
Performativity s Rejections and Projects 177
Performativity Project 1: Identity
Constitution as Material and Historical 179
Choreographing Identity: Bodies and History 180
Choreography in Performance Studies 181
How Is History a Weight? 182
Performativity Project 2: A Strategy for Identity Critique 184
Identity in Progress 185
Identity as Product 185
Reproducing Harmful Effects 186
From Philosophy to Speech Act to Laws 187
Family Stories and Performativity 190
Performativity Project 3: A Political Practice of Identity 192
Performing Life and Death 193
Staking Identity in Performance 194
Rethinking Identity 197
Chapter Eight: Performing Resistance 199
Elizabeth Bell and Stacy Holman Jones
Theory in Perspective: How Can Performance Change the World? 199
From Aristotle to Postmodernism 200
Bertolt Brecht on Performing Resistance 201
Alienation Effects of Epic Theatre 202
Breaking the Fourth Wall 203
Keeping Emotions in Check 203
Arresting Moments 203
Making Strange 204
Brechtian Techniques as Critical Lenses 204
From Brecht to Boal 207
Simultaneous Dramaturgy 208
Image Theatre 208
Invisible Theatre 209
Forum Theatre 210
Why Do People Take to the Streets? Models of Protest 212
Public Events through an Aristotelian Lens 214
Carnival and Protest 215
Limits of Carnivalesque Protest: When Audiences Don t Get It 216
From Traditional to Radical Dramaturgy 217
Analyzing Protest Events as Performances 219
The Body Politic: How Do Bodies Intervene? 221
Resistance in Everyday Life: Foucault s Productive Power 224
Resistance in Everyday Life: de Certeau s Strategies and Tactics 228
Rethinking Resistance 229
Chapter Nine: Performing Technologies 233
Elizabeth Bell and Marcyrose Chvasta
Theory in Perspective: What Exists? 233
Caveat Emptor: Buyer Beware of Old and New 234
What Is Technology? Extending Human Bodies and Powers 235
From Deus ex Machina to Flash Mobs:
Extending, Enabling, and Accessing Performance 237
Performance Presence: An Ontology 240
Six Types of Theatrical Presence 241
Losing the Aura of Presence 242
Simulacra: There Is No Original 244
Cyborg Bodies: Human and Machine 248
Performing Cyborgs 250
Musical Performance: Is It Live or Is It Memorex? 252
Interactivity: From Poke and See,
Cyberpoetry, to Computer Art Environments 254
Reach Out and Perform Someone: Five Kinds of Mediated Presence 256
Presence as Social Richness 257
Presence as Transportation 259
Presence as Immersion 259
Presence as Social Actor within the Medium 260
Presence as Medium as Social Actor 260
Rethinking Technologies 261
References 265
Index 289
About the Author 303
|
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| discipline | Allgemeines Soziologie |
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| id | DE-604.BV025553634 |
| illustrated | Illustrated |
| indexdate | 2024-07-09T22:36:22Z |
| institution | BVB |
| isbn | 9781412926379 9781412926386 |
| language | English |
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| publisher | SAGE |
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| spelling | Bell, Elizabeth Verfasser aut Theories of performance Elizabeth Bell Los Angeles, Calif. [u.a.] SAGE 2008 XV, 303 S. Ill. txt rdacontent n rdamedia nc rdacarrier Literaturverz. S. 265 - 288 Performance Performance Künste (DE-588)4173750-7 gnd rswk-swf Darstellende Kunst (DE-588)4129566-3 gnd rswk-swf Darstellende Kunst (DE-588)4129566-3 s DE-604 Performance Künste (DE-588)4173750-7 s HBZ Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020153692&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
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| title | Theories of performance |
| title_auth | Theories of performance |
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| title_full | Theories of performance Elizabeth Bell |
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| title_short | Theories of performance |
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