Department Of Performance Studies Research Articles

Lockdowns

A short response to the sounds of lockdowns during a session of a Zoom Writing Salon initiated by Michelle Dent which involved eight former colleagues from the Department of Performance Studies at New York University.

The Printmakers; sextet, a cincologue of sylph and soul; Come on, get it!

Research Article| October 01 2020 The Printmakers; sextet, a cincologue of sylph and soul; Come on, get it! Fred Moten Fred Moten FRED MOTEN works in the Department of Performance Studies at New York University. His latest book, coauthored with Stefano Harney, is All Incomplete. Search for other works by this author on: This Site Google Jazz and Culture (2020) 3 (2): 181–183. https://doi.org/10.5406/jazzculture.3.2.0181 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Fred Moten; The Printmakers; sextet, a cincologue of sylph and soul; Come on, get it!. Jazz and Culture 1 January 2020; 3 (2): 181–183. doi: https://doi.org/10.5406/jazzculture.3.2.0181 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectiveUniversity of Illinois PressJazz and Culture Search Advanced Search The text of this article is only available as a PDF. Copyright 2021 by the Board of Trustees of the University of Illinois2021 Article PDF first page preview Close Modal You do not currently have access to this content.

ASECS at 50: Interview with Joseph Roach

ASECS at 50:Interview with Joseph Roach Terry F. Robinson (bio) and Joseph Roach Joseph Roach is Sterling Professor of Theater and Professor of English, Emeritus, at Yale University. A theatre historian, stage director, and performance studies scholar, Roach is the author of The Player's Passion: Studies in the Science of Acting (Delaware, 1985; Michigan, 1993), which was recognized by the Barnard Hewitt Award in Theatre History; Cities of the Dead: Circum-Atlantic Performance (Columbia, 1996), which was awarded the James Russell Lowell Prize from the MLA and the Joe A. Callaway Prize for the Best Book on Drama or Theater from NYU; and It (Michigan, 2007). He is also editor, with Janelle Reinelt, of Critical Theory and Performance (Michigan, 1992, 2nd ed. revised 2007), and, most recently, with Margaret K. Powell, of A Cultural History of Hair in the Age of Enlightenment (Bloomsbury, 2019). His essays on theatre and performance history have appeared in journals such as Eighteenth-Century Studies; PMLA; MLQ; Shakespeare Survey; Modern Drama; Theatre Journal; Theatre Survey; The Drama Review; and Theater; as well as in edited collections such as The Global Eighteenth Century; The First Actresses; Bluestockings Displayed; Henry Fielding: Novelist, Playwright, Journalist, Magistrate; From the Royal to the Republican Body; and Politics, Transgression, and Representation at the Court of Charles II. Roach has chaired the Department of Theatre at Sweet Briar College, the Performing Arts Department at Washington University in St. Louis, the Interdisciplinary Ph.D. in Theatre at Northwestern University, the Department of Performance Studies at NYU, and the Theater Studies Program in Yale College. A member of the American Academy of Arts and Sciences and the American Antiquarian Society, he was Principal Investigator on a sequence of three grants from [End Page 181] the Andrew W. Mellon Foundation that funded the World Performance Project at Yale and the Performance Studies Working Group (2003–16). He is the recipient of a Lifetime Distinguished Scholar Award from the American Society for Theatre Research and the Oscar Brockett Outstanding Teacher Award from the Association for Theatre in Higher Education; and he has directed over fifty plays, operas, and musicals. In 2012 he gave the James L. Clifford Lecture; in 2013–14 he served as President of ASECS. Terry Robinson: First, let me say that it is an honor to speak with you as a leading scholar of theatre and performance studies for this ASECS 50th Anniversary interview series. In addition to your many scholarly accomplishments, you are a widely respected colleague and mentor, and I have no doubt that anyone who opens this ECS volume and sees your name will be eager to read your reflections on your career and on your work in long eighteenth-century studies. Joseph Roach: You are very kind to say that, and to do this interview. Robinson: Not at all. It's a true pleasure. I thought we might begin at the beginning? Roach: Sounds good. Robinson: Your initial foray into theatre began as an undergraduate at the University of Kansas, where you acted mainly in modern and contemporary plays. You went on to earn a master's in Elizabethan and Jacobean drama in the U.K. and a Ph.D. in theatre arts at Cornell, which included theory as well as practice. Since graduate school, you have directed plays from every period, and have taught an introductory survey of theatre history that your students called "From Caves to Cats." Given such wide-ranging interests, what is it that drew you—and continues to draw you—to Restoration and eighteenth-century theatre? Roach: If you care for the theatre at all, you love eighteenth-century theatre. Robinson: I agree, of course! But why do you think so? Roach: Because the brilliance of the performers so thoroughly irradiated the artifacts of the period that they still glow. You can read by their light. The many treasures left behind include but are not limited to plays, libretti, scores, prompt books, prologues, epilogues, notated dances, paintings, prints, costumes, machinery, memoirs, reviews, and eyewitness accounts. Other ages of theatre have good sources, but none can produce a diarist who excels Pepys, a portraitist who rivals Reynolds, or critics who can...

Grotowski in New York City, 1993: Expectations, Hopes, and Stereotypes

The legacy of Jerzy Grotowski twenty years after his death still presents a powerful challenge for theatre-makers, not only in experimental theatre, and theoreticians – which is also how it was during his life. This retrospect by Juliusz Tyszka on the Grotowski seminar organized by Robert Findlay and Robert Taylor for the Program in Educational Theatre, at New York University in February 1993, is a testimony to his achievements, offering insights into the opinions and reflections of American artists, critics, and scholars on the importance of Grotowski, and the impact of his theatrical output both on world theatre, and specifically in the US. Tyszka sets their views within the Polish background he shares with Grotowski. The climax of the seminar in a meeting with Grotowski himself, following a film recording of The Constant Prince, is fully described. In 1992/93 Juliusz Tyszka was a Fulbright visiting scholar in the Department of Performance Studies at NYU. He is an advisory editor of NTQ and a regular contributor to the journal. Since 2008 he has been Head of the Unit of Performance Studies, Institute of Cultural Studies, Adam Mickiewicz University at Poznań, Poland.

More Books

March 01 2018 More Books Michell Nicole Miller Michell Nicole Miller Michell Nicole Miller is a doctoral student in the Department of Performance Studies at Northwestern University. michellmiller2022@u.northwestern.edu Search for other works by this author on: This Site Google Scholar Author and Article Information Michell Nicole Miller Michell Nicole Miller is a doctoral student in the Department of Performance Studies at Northwestern University. michellmiller2022@u.northwestern.edu Online Issn: 1531-4715 Print Issn: 1054-2043 ©2018 New York University and the Massachusetts Institute of Technology2018New York University and the Massachusetts Institute of Technology TDR/The Drama Review (2018) 62 (1 (237)): 222–224. https://doi.org/10.1162/DRAM_r_00741 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn MailTo Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Michell Nicole Miller; More Books. TDR/The Drama Review 2018; 62: 1 (237), 222–224. doi: https://doi.org/10.1162/DRAM_r_00741 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAll JournalsTDR/The Drama Review Search Advanced Search This content is only available as a PDF. ©2018 New York University and the Massachusetts Institute of Technology2018New York University and the Massachusetts Institute of Technology Article PDF first page preview Close Modal You do not currently have access to this content.

Sensational Flesh: Race, Power, and Masochism

September 01 2017 Sensational Flesh: Race, Power, and Masochism Sensational Flesh: Race, Power, and Masochism. By Amber JamillaMusser. New York: New York University Press, 2014; 254 pp.; $89.00 cloth, $24.00 paper, e-book available. E. Hella Tsaconas E. Hella Tsaconas E. Hella Tsaconas is a PhD candidate in the Department of Performance Studies at NYU. Her dissertation project, “Spectacular Fitness: Sex, Race and the Performance of Athletic Capacity,” spans performance art, elite sport, and postindustrial fitness cultures in order to theorize the training of bodies and subjects under the conditions of neoliberal capitalism. Her writing has appeared in Women & Performance and Feminist Formations. eht227@nyu.edu Search for other works by this author on: This Site Google Scholar Author and Article Information E. Hella Tsaconas E. Hella Tsaconas is a PhD candidate in the Department of Performance Studies at NYU. Her dissertation project, “Spectacular Fitness: Sex, Race and the Performance of Athletic Capacity,” spans performance art, elite sport, and postindustrial fitness cultures in order to theorize the training of bodies and subjects under the conditions of neoliberal capitalism. Her writing has appeared in Women & Performance and Feminist Formations. eht227@nyu.edu Online Issn: 1531-4715 Print Issn: 1054-2043 ©2017 New York University and the Massachusetts Institute of Technology2017New York University and the Massachusetts Institute of Technology TDR/The Drama Review (2017) 61 (3 (235)): 184–185. https://doi.org/10.1162/DRAM_r_00684 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn MailTo Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation E. Hella Tsaconas; Sensational Flesh: Race, Power, and Masochism. TDR/The Drama Review 2017; 61: 3 (235), 184–185. doi: https://doi.org/10.1162/DRAM_r_00684 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAll JournalsTDR/The Drama Review Search Advanced Search This content is only available as a PDF. ©2017 New York University and the Massachusetts Institute of Technology2017New York University and the Massachusetts Institute of Technology Article PDF first page preview Close Modal You do not currently have access to this content.

A Note from the Editor

A Note from the Editor Gwendolyn Alker The impetus for this special issue of Theatre Topics—Theatre and/as Education—emerged from the disciplinary divides between theatre and education that I saw in my home institution, and in the fields of theatre and performance studies more generally.1 Conversely, it also arose from the preponderance of other fields that have invoked theatre or performance as a pedagogical tool or method of study across the disciplines. This special issue of TT attempts, among other things, to acknowledge, locate, and challenge some of these divides, as well as to record some of the excellent interdisciplinary work that is being done with theatre pedagogy and (here, we may fill in the blank with any one of the contributions to follow) math, cognitive science, hip hop, religion, or activism. To find the reasons for these divides, we must look no further than the cultural histories and present-day realities of ATHE and its two sponsored journals, TT and Theatre Journal. ATHE was founded in 1986 out of the ashes of the American Theatre Association (ATA). What was lost in this shift of name and institutional focus was a wide array of varying types of theatre (such as military theatre) and the communities who worked to create such genres, notably theatre educators for K-12 students. Instead, ATHE’s core membership was initiated from those who worked in higher education, but who, ironically, did not focus on theatre education as a topic of inquiry. The American Alliance for Theatre and Education (AATE) was founded in 1987 (also partially due to the dissolution of ATA), and the two organizations grew along separate disciplinary paths over the ensuing decades.2 As Matt Omasta and Drew Chappell note in the essay that begins this special issue, such divides among theatre studies, performance studies, and theatre education exist disciplinarily, nationally, and in various other institutions beyond ATHE. Indeed, as they argue in their important contribution, “minor differences” create “major impacts” regarding who is published where and what type of content is given value in the field of theatre and performance (185). Their critiques of the implicit biases against theatre education among scholars of theatre and performance studies resonate for me both personally and at a professional level. At New York University—the location of not only a pioneering Department of Performance Studies, but also one of the only PhD programs in educational theatre—differing departments exist in differing schools; the faculty are charged by different deans, do differing kinds of research, and rarely engage in cross-departmental collaborations. TJ, which was renamed from its earlier moniker Educational Theatre in 1979, established itself in contrast to its earlier title and subsequently moved away from including pedagogy as a relevant topic of inquiry. TT was founded in 1990, partially in response to this dearth of writing on pedagogy in its sibling ATHE-sponsored journal. However, due to the split that had already occurred institutionally with the shift away from ATA, TT has continued to have its own blind spot regarding Theatre for Young Audiences (TYA). It is thus my pleasure that Roxanne Schroeder-Arce’s essay, “Seeking Culturally Responsive Pedagogical Practice: Teaching as Ally across Identity Markers in the University Setting,” is one of the first essays that TT has published on TYA. This contribution presents a timely response to Omasta and Chappell’s challenge to the journal to publish just this type of content. A fascinating account of a case study of And Then Came Tango, wherein a theatrical tour was banned due to homosexual content, Schroeder-Arce asks extremely insightful and nuanced questions of how we must position ourselves as allies to those in our classrooms who may not share our identity markers. In her essay “Classroom Cons and Assigning Activism: Ethical Issues in Relational Pedagogy,” Kristin Hunt points to the ways that performance and performative theory can bring novel questions and approaches to a more traditional classroom setting. This important work of using performance as a methodological tool within a reframing of our teaching techniques is also engaged in deep ways [End Page ix] by Jane Barnette in “Embracing the ‘Foggy Place’ of Theatre History: the Chautauqua/Colloquia...

Performance Studies Floating Free of Theatre. Richard Schechner and the Rise of an Open Interdisciplinary Field

As Marvin Carlson points out, the term performance has recently developed “as a central metaphor and critical tool for a bewildering variety of studies, covering almost every aspect of human activity.” While there is a tendency to stress their similarities and theoretical convergence, Performance Studies and Cultural Studies have different origins: the roots of Performance Studies are clearly located in theatre studies and practices. The essay outlines a short history of the rise of Performance Studies, focussing on Richard Schechner’s work. According to him, a Performance Studies paradigm came to the fore in the mid-1950s, with books by Bateson, Austin, Goffman, Caillois and others. In the Sixties Schechner started to teach and was founder/director for influential theatre groups on the American avant-garde scene. When his interest shifted from theatre to performance and from aesthetics to social sciences, he found anthropology extremely useful because in ethnographies anthropologists treat the actual lived behaviours of people performatively. Schechner developed these assumptions and cooperated intensely with social scientists, in particular the anthropologist Victor Turner. In 1980 Schechner co-founded the Department of Performance Studies at NYU. Since then many academic institutions have started similar programs; Schechner’s books have been translated into many languages; and worldwide a growing cohort of scholars have been attracted to this stimulating, inter-disciplinary, threshold-crossing approach.

That Was Then and This Is Now

Click to increase image sizeClick to decrease image size Notes 1. I am thinking here of the title of Judith Hamera's important collection of essays, Opening Acts, which draws from her years as editor of Text and Performance Quarterly (1997–2007). Additional informationNotes on contributorsD. Soyini MadisonD. Soyini Madison is Professor and Chair of the Department of Performance Studies in the School of Communication at Northwestern University. She is an affiliate Professor with the Program in African Studies and the Departments of African American Studies and Anthropology

Fostering a Culture of Creative Interdisciplinary Innovation at Texas A&M University

As a relatively young department in an aesthetically conservative, remote college town, the Department of Performance Studies at Texas A&M University is building a culture of innovation through strategic facility development, a focus on students sharing work through public performance, and a commitment to interdisciplinary collaboration. The authors have embraced the celebrated strengths of their university in STEM fields (Science, Technology, Engineering, and Mathematics) by developing interdisciplinary experiences and inspiring facilities (through technology and curriculum grants). These experiences contribute to the university at large by demonstrating how technology can connect with the human element and how technology impacts human expression. The authors’ Music, Performance Studies, and Theatre Arts students benefit by joining the faculty in exploring the new and also rediscovering the traditional.

Performance Set-Pieces in Joyce and Beckett's Writings

Storytelling, Self, Society ,8:52-57, 2012 Copyright©Taylor &Francis Group, LLC ISSN: 1550-5340 print /1932-0280 online DOI: 10.1080/15505340.2012.635088 Routledge Taylor &Francis Croup BOOK REVIEWS Performance Set-Pieces in Joyce and Beckett's Writings Carol SimpsonStern Friedman, AlanW.Party Pieces: OralStorytelling andSocialPerformance inJoyce andBeckett. Syracuse, NY: Syracuse University Press, 2007.$45. AlanW.Friedman's absorbing, entertaining, andultimately bothuplifting andheart wrenching Party Pieces: OralStorytelling andSocial Performance inJoyce andBeckett examines "party pieces."He defines them as an impromptu kindofperformance thatis frequent, familiar, and offered bynonprofessional performers ineveryday lifesocialsituations. Friedman's interest is inthewaythat Joyce andBeckett usetheseperformative actsintheir writings. Anafter-dinner speech,a toastat mealtime, or a disquisition in a library arebutjusta fewoftheexamples he examines; he also looksat terser forms, theshort oralanecdotes thatappearso frequently in JamesJoyce'sUlyssesand theircounterparts, evermoreabbreviated, in thewritings of Beckett. Friedman's bookopenswithan introduction totherichinherited oraltradition from which Irishparty piecesderive. Homeric epicsandancient Irishsagasaboundwith examples ofthem. He continues andbroadens thediscussion toinclude literary manifestations ofthegenre andtheir Irishpractitioners, including OscarWilde,W.B. Yeats,andLadyGregory, amongothers. His project istoidentify andreflect onthese performances orwhat hecalls"presentational enactments thatreconfigure performative genreswithin an oraltradition ofIrishself-representation ..." (xxvii-xxviii) andhowthey function inthefiction anddramaas wellas inthelivesofJames Joyce andSamuelBeckett. He writes extensively aboutscenesfamiliar to thereadersofJoyce andBeckett, focusing predominantly onJoyce's three mostwidely known books,Dubliners ,A Portrait oftheArtist as a Young Man, andUlysses , andBeckett's dramas, withspecialemphasis on Waiting forGodot , Endgame ,andHappyDaysas wellas hismoreexperimental later works. Friedman's prosestyleis disarmingly freeofcritical cant;he is unpretentious anda careful ,thoughtful, interpreter oftheseworksthathavehad suchan abundance ofcriticism piled Address correspondence toCarol Simpson Stern, Department ofPerformance Studies, Northwestern University, Annie May Swift Hall, 1920 Campus Drive, Room 210, Evanston, IL60208. E-mail: cs@northwestern.edu BOOK REVIEW 53 atopofthem. His study is intriguing, andheadvances hisfresh readings andreassessment with humility andgreat insight. Whatmakeshisbookso right forthereaders ofourjournalis that itstopicis at theheart ofourinterest. His critical lensis on theperformers in thetexts, the expectations andfearsthat drivethem, thepossibility they confer ofaltering orreshaping the performers' socialstatus andthebondorrupture they experience with thecommunal observers, participants, ornaysayers. He notesthat theperformative impulse canalso be a well-rehearsed one:itcantaketheform ofa nursery rhyme, a story, a poem,bothspoken andwritten, andits impact onitsaudience can,inturn, reshape itsmaker. Theperformative actalsodepends onits audience, anditsrole,too,is examined inthisbook.Friedman marvels atthesheernumber of occasionsinwhichsongsarealludedtoin Ulysses , some400 times;inFinnegans Wake , they exceed1,000.He discusses atlength performance andnon-performance experiences ofboth his subjects. Storytelling, skits, musicalperformance, anddanceareall examples Friedman citesofthe self-dramatizing party piecesat work.Fromthetimetheywerefirst introduced in Irelandto thepresent, party piecescelebrated hospitality, verbalandmusicalvirtuosity, andcommunal interaction, either inspiring community orhostility. Theywerealwaysa double-edged sword, holding thepossibility ofvictory orconquest andbetrayal. Friedman drawson thewritings of familiar anthropological andperformance scholars suchas Walter Ong,RoyRappaport, Victor Turner, Richard Schechner, andErvingGoffman andothers toprovide a context forhisdiscussionoforality , ritual, andperformance ineveryday life.He viewsHomer'sOdyssey tobe oneofthegreatest party piecesinWestern literature. Reflecting onhowtheseparty piecesare embedded in theculture and textsof thewriters underexamination, he drawson numerous examples. FromJoyce'scanon,he includes actsofstorytelling: Hynes'seulogyforthefallen political hero, CharlesStewart Parnell, in"IvyDay intheCommittee Room"from Dubliners ; thespeeches attheDedalusesChristmas dinner table, including Dante'sangry screams ofdenunciationofParnell inPortrait, andlaterinthesamebook,thehell-fire-and-damnation sermon heardbyStephen to be followed in thefinal chapter byStephen's erudite lecture on aesthetics givento hisfriends. Whereascustomarily we expectan atmosphere ofconviviality when welcoming andafter-dinner speeches aredelivered, inJoyce's case,Friedman explains, theoccasionsareoften fractious andtherulesrequired tofulfill socialexpectations aredisappointed or broken. Friedman draws on Ulysses , analyzing theparty pieceStephen performs whenheholdsforth onhistheory ofHamlet inthe National Library. Thisshowy, well-rehearsed display goesseriously wrong inspots.Friedman points tothenumerous theatrical features ofthescene:Stephen has carefully chosenthetime andplace,asksthat thecurtain be "lifted," tries tohumor hisaudience along, andoffers hisowninternal assessment ofhisskills inrendering a party piece.Nonetheless, hefailshisowntest andalsofailstoadvancehisartistic agenda.Inshort, heis all talkbutthere is little artistic output ofanysort. Friedman offers numerous other examples from Ulysses , all involving a speechas anactofsocialinteraction requiring a speaker andanaudience andconforming totacit rulesgoverning suchexchanges. Inhisanalysis ofUlysses andtheearlier novel, heviewsStephen as largely a failedperformer notreadytoassumetheroleofartist towhich he aspires.Throughout, Friedman is interested in exploring howtheseparty piecesfunction; howthey are"foregrounded andoften parodied" inJoyce's writings (xv) andhowthey areless obvious, more hostile incharacter, andoften subverted byBeckett, leaving onlytheir traces and vanishings andreflecting a much darker vision. 54 STERN Beckett, incontrast toJoyce, first employs party piecesas assertions uttered bycharacters in reduced ifnothopelessorabsurd environments whereself-declaration is almostfutile. Thisis inmarked contrast toJoyce whoseperformers moreoften miscarry...

An evening with Fluxus women: a roundtable discussion

In this roundtable discussion, hosted at New York University (19 February 2009, 7:00–8:30 p.m.) by Women & Performance: a journal of feminist theory and the Department of Performance Studies, the participants discuss how they came to and experienced the Fluxus art movement. Topics range from the availability of space in New York City during the 1960s and the formation of artistic communities, to the role of food in Fluxus art and social circles and the question of gender specificity in Fluxus works. The participants also discuss several particular Fluxus works and flesh out the contexts in which these works were produced and received.

Feminism in the Field

Book Review| July 01 2008 Feminism in the Field A FIELD GUIDE FOR FEMALE INTERROGATORS BY COCO FUSCONEW YORK: SEVEN STORIES PRESS, 2008144 PP./$16.95 (SB) Ashley Black, Ashley Black ASHLEY BLACK is a first-year MA/PhD student in the department of Performance Studies at Northwestern University in Evanston, Illinois Search for other works by this author on: This Site PubMed Google Scholar Katherine Newbold Katherine Newbold KATHERINE NEWBOLD is a first-year MA/PhD student in the department of Radio/TV/Film at Northwestern University. Search for other works by this author on: This Site PubMed Google Scholar Afterimage (2008) 36 (1): 28. https://doi.org/10.1525/aft.2008.36.1.28 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Ashley Black, Katherine Newbold; Feminism in the Field. Afterimage 1 July 2008; 36 (1): 28. doi: https://doi.org/10.1525/aft.2008.36.1.28 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAfterimage Search This content is only available via PDF. © 2008 Afterimage/Visual Studies Workshop, unless otherwise noted. Reprints require written permission and acknowledgement of previous publication in Afterimage.2008 Article PDF first page preview Close Modal You do not currently have access to this content.

Double‐Blind: The Torture Case

710 Thanks to Barbara Kirshenblatt-Gimblett, Marianne Hirsch, and Lauren Berlant for their suggestions and close readings, as well as to students from the Department of Performance Studies at New York University for their feedback. 1. Charles Krauthammer, “The Truth about Torture,”TheWeekly Standard, 5 Dec. 2005, pp. 21– 25; hereafter abbreviated “T.” 2. Quoted in Anthony Lewis, “The TortureAdministration,”TheNation, 26Dec. 2005, pp. 13–15. 3. Jean Amery,At theMind’s Limits: Contemplations by a Survivor on Auschwitz and Its Realities, trans. Sidney Rosenfeld and Stella P. Rosenfeld (Bloomington, Ind., 1980), p. 33; hereafter abbreviatedA. Double-Blind: The Torture Case

Theatricality As Medium. Samuel Weber. Theatrical Events: Borders, Dynamics, Frames. Vicky Ann Cremona, Peter Eversmann, Hans van Maanen, Willmar Sauter, John Tulloch.

March 01 2006 Theatricality As Medium; Theatrical Events: Borders, Dynamics, Frames Theatricality As Medium. WeberSamuel. Theatrical Events: Borders, Dynamics, Frames. CremonaVicky Ann, EversmannPeter, van MaanenHans, SauterWillmar, TullochJohn. Branislav Jakovljevic Branislav Jakovljevic Assistant Professor at the Department of Theatre Arts and Dance, University of Minnesota, Minneapolis, and specializes in modernist theatre and the avantgarde. Search for other works by this author on: This Site Google Scholar Author and Article Information Branislav Jakovljevic Assistant Professor at the Department of Theatre Arts and Dance, University of Minnesota, Minneapolis, and specializes in modernist theatre and the avantgarde. 1He completed his undergraduate studies in Belgrade, Yugoslavia, and his graduate studies at the Department of Performance Studies, Tisch School of the Arts/NYU, where he also taught in the drama department. His articles have been published in the United States (TDR, PAJ, Theater) and abroad (Yugoslavia, Spain, England). Online ISSN: 1531-4715 Print ISSN: 1054-2043 © 2006 New York University and the Massachusetts Institute of Technology2006 TDR/The Drama Review (2006) 50 (1 (189)): 179–183. https://doi.org/10.1162/dram.2006.50.1.179 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn MailTo Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Branislav Jakovljevic; Theatricality As Medium; Theatrical Events: Borders, Dynamics, Frames. TDR/The Drama Review 2006; 50: 1 (189), 179–183. doi: https://doi.org/10.1162/dram.2006.50.1.179 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAll JournalsTDR/The Drama Review Search Advanced Search This content is only available as a PDF. © 2006 New York University and the Massachusetts Institute of Technology2006 Article PDF first page preview Close Modal You do not currently have access to this content.

Letter on the Occasion of Marcia Siegel's Award Panel

I am sorry not to be able to join you in person today, but I am glad for the chance to participate in this opportunity to honor Marcia Siegel. Marcia and I taught together in the Department of Performance Studies at New York University from 1985, when I joined the faculty, until her retirement in 1999. And I was honored when she came to do a workshop and speak in my class at Stanford when I began teaching there in 2003. Many of you in attendance today know the beauty and rigor of Marcia's writing about dance, so perhaps it might be better if I spend my time sharing some aspects of Marcia's work that might be less well known to you.

Incessant Daily Negotiations: Bill T. Jones's Floating the Tongue

June 01 2005 Incessant Daily Negotiations: Bill T. Jones's Floating the Tongue Barbara Browning Barbara Browning Department of Performance Studies, Tisch School of the Arts/NYU. Search for other works by this author on: This Site Google Scholar Author and Article Information Barbara Browning Department of Performance Studies, Tisch School of the Arts/NYU. Online Issn: 1531-4715 Print Issn: 1054-2043 © 2005 Massachusetts Institute of Technology2005 TDR/The Drama Review (2005) 49 (2 (186)): 87–92. https://doi.org/10.1162/1054204053971081 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn MailTo Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Barbara Browning; Incessant Daily Negotiations: Bill T. Jones's Floating the Tongue. TDR/The Drama Review 2005; 49: 2 (186), 87–92. doi: https://doi.org/10.1162/1054204053971081 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAll JournalsTDR/The Drama Review Search Advanced Search This content is only available as a PDF. © 2005 Massachusetts Institute of Technology2005 Article PDF first page preview Close Modal You do not currently have access to this content.

Augusto Boal and the Woman in Lima: a Poetic Encounter

Twenty-five years after the landmark publication of Theatre of the Oppressed, there is no denying the continuing influence of Augusto Boal on theatre practitioners, community workers, and political activists worldwide. To judge by the number of recent publications by or about Boal (including five best-selling books from Routledge in little more than a decade), the ‘Boal Boom’ shows no evidence of decline. There is also, however, an emerging culture of critique around various aspects of the theory and practice of Theatre of the Oppressed; and in the following article, Paul Dwyer argues that a reflexive, critical approach to using Boal's techniques should begin with an acknowledgement that they are not based on a stable theoretical foundation. Rather, the underlying principles, articulated by Boal in the many anecdotes that fill his books, lectures, and workshops, appear to have shifted over the years to become more closely aligned with the expectations of his audience. The theory of Theatre of the Oppressed should thus be seen as a co-creation for which the readers and propagators of Boal's work share a significant responsibility. Paul Dwyer is a lecturer in the Department of Performance Studies at the University of Sydney.

Performance, Live Culture and Things of the Heart

Having worked in the Department of Performance Studies, Tisch School of the Arts, New York University, from 1985 to 2002, Peggy Phelan is now the Ann O’Day Maples Chair in the Arts at Stanford University. She is the author of Unmarked: The Politics of Performance (1993), Mourning Sex: Performing Public Memories (1997) and the forthcoming Death Rehearsals: The Performances of Andy Warhol and Ronald Reagan, as well as survey essays for the art catalogues Art and Feminism (2001) and Pipilotti Rist (2001). She is co- editor with the late Lynda Hart of Acting Out: Feminist Performances (1993) and with Jill Lane of The Ends of Performance (1998). Professor Phelan has also written plays and performances and has exhibited her visual art. She has made significant contributions across the Arts and Humanities, particularly at the points where live culture, feminism, psychoanalysis, deconstruction, and critical theory meet. In this interview Professor Phelan speaks about some of the awkward grey areas between Performance Studies and Visual Cultural Studies, as well as the themes and topics at the heart of her writing and her practice. These include feminism, performance, psychoanalysis and aesthetics; for Phelan, most of these themes touch on mourning, death and love.

When Spectators Become Performers: Contemporary Performance‐Entertainments Meet the Needs of an “Unsettled” Audience

The Journal of Popular CultureVolume 30, Issue 4 p. 75-88 When Spectators Become Performers: Contemporary Performance-Entertainments Meet the Needs of an “Unsettled” Audience Kurt Lancaster, Kurt Lancaster Kurt Lancaster is a doctoral student in the Department of Performance Studies at New York University's Tisch School of the Arts. He has published essays on cyberspace, role-playing games, and science fiction.Search for more papers by this author Kurt Lancaster, Kurt Lancaster Kurt Lancaster is a doctoral student in the Department of Performance Studies at New York University's Tisch School of the Arts. He has published essays on cyberspace, role-playing games, and science fiction.Search for more papers by this author First published: 05 March 2004 https://doi.org/10.1111/j.0022-3840.1997.3004_75.xCitations: 12AboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat Citing Literature Volume30, Issue4Spring 1997Pages 75-88 RelatedInformation