Performance: a critical introduction
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London ; New York
Routledge, Taylor & Francis Group
2018
|
| Ausgabe: | Third edition |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | Includes bibliographical references |
| Beschreibung: | xii, 291 Seiten Illustrationen |
| ISBN: | 9781138281684 9781138281677 |
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Datensatz im Suchindex
| _version_ | 1804177818402160640 |
|---|---|
| adam_text | Contents
List of figures
A cknowledgments
Xlll
XI
Introduction: what is performance?
1
The aims of this book 2
The display of skills 2
Patterned behavior 3
Keeping up the standard 4
Theatre and performance art 5
The plan of this book 6
1 The performance of culture: anthropological and
ethnographic approaches 9
Performance and anthropology 10
Cultural performance 11
Kenneth Burke and the rhetoric of performance 12
Victor Turner and social drama 14
Richard Schechner and social drama 15
Liminal and liminoid 17
Performance and play 19
Subversive play 21
Performing anthropology 23
2 Performance in society: sociological and psychological
approaches 32
Nikolas Evreinoff and social roles 33
Kenneth Burke and dramatism 34
Erving Goff man and role playing 35
vi Contents
Framing 36
Umberto Eco and ostentation 37
Performance and agency 38
Social performance—negative views 40
Bruce Wilshire and ethical responsibility 41
Social performance—positive views 42
Moreno and psychodrama 43
Behavior therapy 44
Eric Berne and Talcott Parsons 44
Social constructionism 45
Goffman and keying 47
Schechner and restored behavior 48
Binocular vision and the actual 50
Performance and psychoanalysis 52
Identification and psychosemiotics 52
Elin Diamond and psychoanalytic theory 53
Ann Pellegrini and racial identity 54
Pathologies of identification—hysteria 54
Pathologies of identification—homosexuality 55
Pathologies of identification—melancholia 56
Judith Butler and melancholia 57
Tomkins Sedgwick and Munoz 57
Performance psychology 58
3 The performance of language: linguistic approaches
Semiotics 62
The post-structuralist challenge 63
Chomsky s competence and performance 64
Dell Hymes and functional linguistics 64
Bahktin and the utterance 65
Austin and speech act theory 67
Searle and speech act theory 68
Kristeva and speech act theory 69
Benveniste and speech act theory 70
Katz and speech act theory 70
Shoshana Felman and the literary speech act 71
Literature as act 73
Stanley Fish 73
Pratt and the tellable 74
Kristeva and the problem of the “author 74
Contents vii
Intentions and effects in literary speech acts 75
Drama as a literary speech act 76
Speech acts within the drama 77
Speech act theory and semiotics: Keir Elam 77
Speech act theory and semiotics: Eli Rozik 78
Text and performance 79
Jacques Derrida and citation 80
Bourdiett and social authority 82
Judith Butler and performativity 82
Butlery Spivak and precarity 85
Performance and the social sciences: a look backward 86
4 Performance in its historical context 91
Performance’s new orientation 91
Popular forms 91
The avant-garde tradition 92
Jean Alter and the performant function 94
Folk and popular performance 95
Fairs and circuses 97
Solo performances 98
American minstrelsy 99
Vaudevilles and reviews 101
The cabaret 102
Russian experimental performance 102
Isadora Duncan 103
Pageants and spectacles 104
Futurism 104
Dada and surrealism 105
The Bauhaus 107
The tradition of mime 108
St Denis and the tradition of dance 110
John Cagey Merce Cunningham, Anna Halprin 110
Happenings 112
Kostelanetz and the Theater of Mixed Means 114
5 Performance art
The beginnings of performance art 119
Conceptual art 120
Body art 120
119
viii Contents
Chris Burden, Vito Acconci, Marina
Abramovic 122
Performance art and theatre 123
The Theatre of Mixed Means 124
Early British performance art 124
Jérôme Savary 125
Outdoor and site-specific performance 126
Robert Wilson 129
The new circus 130
The new vaudevillians 132
Persona performance and walkabouts 133
Autobiographical performance 135
Laurie Anderson 136
The turn to language 137
Word and image 138
Politics and performance 139
Non-dance 141
Live art 142
Live art and the media 142
Performance and new technology 143
Back to the gallery 144
6 Performance and the postmodern
Ihab Hassan 149
Thomas Leabheart 150
Greenberg, Fried, and modernism 151
The heritage of Artaud 153
Sally Banes and post-modern dance 155
Reactions to Banes 156
Charles Jencks and Linda Hutch eon 158
Double-coding and parody 159
Hal Foster and “neo conservative” postmodernism 160
Postmodernism and poststructuralism 162
Josette Féral: performance and theatricality 163
Performance as experience 165
The role of the audience 166
Postmodern performance and politics 167
Postmodernism and the postdramatic 169
After postmodernism 170
Contents ix
7 Performance and identity
Feminist performance 175
Liberal and cultural feminism 176
Materialist feminism 176
Women s performance in the 1960s 177
The pioneers of women s performance 178
Mythic explorations 179
Autobiographical performance 180
Autobiographical performance and formalist theory 181
Lesbian performance 182
Persona performance 183
Gay performance 184
Camp performance 186
Cross-dressing and drag 186
The NEA Four 188
Later works of the NEA Four 190
Performance and ethnicity 191
Blackface performance 192
Other ethnic identity performance 193
Performance in the 1990s, new voices, new bodies 195
Characters from the streets 196
Def poetry performance 198
Body art in the 1990s 199
Victim art 200
Disabled performance 201
The performing audience 203
8 Cultural performance 209
Guerrilla and street performance 209
Feminist guerrilla theatre and the Guerrilla Girls 210
ASCO 212
Social concerns in early feminist performance 212
German and English perspectives 213
The search for subjectivity 214
The female performer, subjectivity, and the gaze 215
Gendered and raced bodies in performance 216
Visibility and representation 218
Butler and citation 219
x Contents
Masquerade and mimicry 220
Mimicry, cultural stereotypes, and the post-colonial 222
Spiderwoman: mimicry and counter-mimicry 223
Countermimicry and cidtural representation 223
Coco Fusco 225
Gomez-Pena’s border crossings 226
The Yes Men: corporate countermimicry 226
The problem of re-inscription 227
Strategic essentialism and the politics of representation 228
Latinx 229
Performance and the community 230
Political performance at the end of the century 232
Ecological performance 233
Intercultural performance in a global context 236
Conclusion: what is performance? 242
Performance and the blurring of boundaries 242
Drawing conclusions 244
Conquergood’s 1991 survey of the field 245
Performance studies international 247
Overviews of the field 248
Coda: an apologia for theatre 250
Glossary 255
Bibliography 264
Name index 281
Subject index 288
Since its original publication in 1996, Marvin Carlson s Performance: A
Critical Introduction has remained the definitive guide to understanding
performance as a theatrical activity. It is an unparalleled exploration
of the myriad ways in which performance has been interpreted, its
importance to disciplines from anthropology to linguistics, and how it
underpins essential concepts of human society.
In this comprehensively revised and updated third edition, Carlson
tackles the pressing themes and theories of our age, with expanded
coverage of:
• the growth and importance of racial and ethnic performance;
• the emergence of performance concerned with age and disability;
• the popularity and significance of participatory and immersive
theatre;
• the crucial relevance of identity politics and cultural performance
in the twenty-first century.
Also including a fully updated bibliography and glossary, this classic text
is an invaluable touchstone for any student of performance studies,
theatre history, and the performing and visual arts.
Marvin Carlson is Sidney E. Cohn Professor of Theatre, Comparative
Literature and Middle Eastern Studies at the Graduate Center of the
City University of New York, USA. Among his books are Theories of the
Theatre, and The Haunted Stage.
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| spelling | Carlson, Marvin A. 1935- Verfasser (DE-588)124212336 aut Performance a critical introduction Marvin Carlson Third edition London ; New York Routledge, Taylor & Francis Group 2018 xii, 291 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier Includes bibliographical references Geschichte 1900-2000 Performance art United States Arts, American 20th century Performance art Arts, Modern 20th century Performance Künste (DE-588)4173750-7 gnd rswk-swf USA Performance Künste (DE-588)4173750-7 s DE-604 Erscheint auch als Online-Ausgabe 978-1-315-27102-6 Digitalisierung UB Regensburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029880849&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung UB Regensburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029880849&sequence=000002&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Klappentext |
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