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Performance : a critical introduction / Marvin Carlson.
- Format:
- Book
- Author/Creator:
- Carlson, Marvin, 1935- author.
- Language:
- English
- Subjects (All):
- Performance art--United States.
- Performance art.
- United States.
- Arts, American--20th century.
- Arts, American.
- Arts, Modern--20th century.
- Arts, Modern.
- Physical Description:
- 1 online resource (xii, 291 pages.)
- Edition:
- Third edition.
- Place of Publication:
- Abingdon, Oxon ; New York, NY : Routledge, an imprint of the Taylor & Francis Group, 2018.
- System Details:
- text file
- Contents:
- 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 Goffman and role playing 35
- 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 Muñoz 57
- Performance psychology 58
- 3 The performance of language: linguistic approaches 62
- 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
- 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 77
- Speech act theory and semiotics 78
- Text and performance 79
- Jacques Derrida and citation 80
- Bourdieu and social authority 82
- Judith Butler and performativity 82
- Butler, 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 Cage, Merce Cunningham, Anna Halprin 110
- Happenings 112
- Kostelanetz and the Theater of Mixed Means 114
- 5 Performance art 119
- The beginnings of performance art 119
- Conceptual art 120
- Body art 120
- Chris Burden, Vita Acconci, Marina Ahramovic 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 149
- 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 Hutcheon 158
- Double-coding and parody 159
- Hal Foster and "neoconservative" postmodernism 160
- Postmodernism and poststructitralism 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
- 7 Performance and identity 175
- 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
- Masquerade and mimicry 220
- Mimicry, cultural stereotypes, and the post-colonial 222
- Spiderwoman: mimicry and counter-mimicry 223
- Countermimicry and cultural representation 223
- Coco Fusco 225
- Gómez-Peña'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.
- Notes:
- Includes bibliographical references and index.
- Electronic reproduction. Ann Arbor, MI Available via World Wide Web.
- Description based on print version record.
- ISBN:
- 9781351983839
- 1351983830
- Publisher Number:
- 99977499863
- Access Restriction:
- Restricted for use by site license.
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