Reading Contemporary Performance

Abstract

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