Performance: pt. 1. Identity and the selfPhilip Auslander This collection reflects not only the multidisciplinary nature of current thinking about performance, but also the complex and contested nature of the concept itself. |
Contents
The performing self | 3 |
from notacting | 22 |
Doing difference | 42 |
performing blackness | 74 |
Choreographies of gender | 111 |
part I | 141 |
Art and objecthood | 165 |
aesthetics in the seventies | 188 |
feminism and postmodernism | 251 |
performance art | 269 |
Film and theatre | 291 |
The presence of mediation | 306 |
The eye finds no fixed point on which to rest | 323 |
performance and new technologies | 351 |
The art of puppetry in the age of media production | 365 |
the uncanny performer | 381 |
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actions actor aesthetic African-American ance Artforum audience become Black Black Arts Movement body camera choreography cinema computer art computer graphics computer graphics figures concept constituted construction contemporary context created critical critique cultural dance dancers deconstruction Derrida discourse distinction drama essay event example experience female Feminism feminist theory film gender gestures Hermann Nitsch Ibid identity interactive computer art Karen Finley kind lesbian literalist Live Art live performance Madhubuti meaning modernist modernist painting movement narrative notion Nuba object objecthood performance art performance artists performer's play poem political postmodern practices present production proxemic puppetry puppets queer question race recordings relation representation Richard Schechner ritual role screen sculpture semiotic sense sexual signified social space specific spectators stage stop-action strategies structure theatre theatrical tion tradition University Press virtual woman women women's performance writing York