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Book Cover
E-book
Author Carlson, Marvin, 1935- author

Title Performance : a critical introduction / Marvin Carlson
Edition Third edition
Published London ; New York : Routledge, 2018
©2018
Online access available from:
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Description 1 online resource (xii, 291 pages) : illustrations
Contents Machine generated contents note: aims of this book -- display of skills -- Patterned behavior -- Keeping up the standard -- Theatre and performance art -- plan of this book -- 1. performance of culture: anthropological and ethnographic approaches -- Performance and anthropology -- Cultural performance -- Kenneth Burke and the rhetoric of performance -- Victor Turner and social drama -- Richard Schechner and social drama -- Liminal and liminoid -- Performance and play -- Subversive play -- Performing anthropology -- 2. Performance in society: sociological and psychological approaches -- Nikolas Evreinoff and social roles -- Kenneth Burke and dramatism -- Erving Goffman and role playing -- Framing -- Umberto Eco and ostentation -- Performance and agency -- Social performance -- negative views -- Bruce Wilshire and ethical responsibility -- Social performance -- positive views -- Moreno and psychodrama -- Behavior therapy -- Eric Berne and Talcott Parsons -- Social constructionism -- Goffman and keying -- Schechner and restored behavior -- Binocular vision and the actual -- Performance and psychoanalysis -- Identification and psychosemiotics -- Elin Diamond and psychoanalytic theory -- Ann Pellegrini and racial identity -- Pathologies of identification -- hysteria -- Pathologies of identification -- homosexuality -- Pathologies of identification -- melancholia -- Judith Butler and melancholia -- Tomkins, Sedgwick and Munoz -- Performance psychology -- 3. performance of language: linguistic approaches -- Semiotics -- post-structuralist challenge -- Chomsky's competence and performance -- Dell Hymes and functional linguistics -- Bahktin and the utterance -- Austin and speech act theory -- Searle and speech act theory -- Kristeva and speech act theory -- Benveniste and speech act theory -- Katz and speech act theory -- Shoshana Felman and the literary speech act -- Literature as act -- Stanley Fish -- Pratt and the tellable -- Kristeva and the problem of the "author" -- Intentions and effects in literary speech acts -- Drama as a literary speech act -- Speech acts within the drama -- Speech act theory and semiotics: Keir Elam -- Speech act theory and semiotics: Eli Rozik -- Text and performance -- Jacques Derrida and citation -- Bourdieu and social authority -- Judith Butler and performativity -- Butler, Spivak and precarity -- Performance and the social sciences: a look backward -- 4. Performance in its historical context -- Performance's new orientation -- Popular forms -- avant-garde tradition -- Jean Alter and the performant function -- Folk and popular performance -- Fairs and circuses -- Solo performances -- American minstrelsy -- Vaudevilles and reviews -- cabaret -- Russian experimental performance -- Isadora Duncan -- Pageants and spectacles -- Futurism -- Dada and surrealism -- Bauhaus -- tradition of mime -- St Denis and the tradition of dance -- John Cage, Merce Cunningham, Anna Halprin -- Happenings -- Kostelanetz and the Theater of Mixed Means -- 5. Performance art -- beginnings of performance art -- Conceptual art -- Body art -- Chris Burden, Vito Acconci, Marina Abramovic -- Performance art and theatre -- Theatre of Mixed Means -- Early British performance art -- Jerome Savary -- Outdoor and site-specific performance -- Robert Wilson -- new circus -- new vaudevillians -- Persona performance and walkabouts -- Autobiographical performance -- Laurie Anderson -- turn to language -- Word and image -- Politics and performance -- Non-dance -- Live art -- Live art and the media -- Performance and new technology -- Back to the gallery -- 6. Performance and the postmodern -- Ihab Hassan -- Thomas Leabheart -- Greenberg, Fried, and modernism -- heritage of Artaud -- Sally Banes and post-modern dance -- Reactions to Banes -- Charles Jencks and Linda Hutcheon -- Double-coding and parody -- Hal Foster and "neoconservative" postmodernism -- Postmodernism and poststructuralism -- Josette Feral: performance and theatricality -- Performance as experience -- role of the audience -- Postmodern performance and politics -- Postmodernism and the postdramatic -- After postmodernism -- 7. Performance and identity -- Feminist performance -- Liberal and cultural feminism -- Materialist feminism -- Women's performance in the 1960s -- pioneers of women's performance -- Mythic explorations -- Autobiographical performance -- Autobiographical performance and formalist theory -- Lesbian performance -- Persona performance -- Gay performance -- Camp performance -- Cross-dressing and drag -- NEA Four -- Later works of the NEA Four -- Performance and ethnicity -- Blackface performance -- Other ethnic identity performance -- Performance in the 1990s, new voices, new bodies -- Characters from the streets -- Def poetry performance -- Body art in the 1990s -- Victim art -- Disabled performance -- performing audience -- 8. Cultural performance -- Guerrilla and street performance -- Feminist guerrilla theatre and the Guerrilla Girls -- ASCO -- Social concerns in early feminist performance -- German and English perspectives -- search for subjectivity -- female performer, subjectivity, and the gaze -- Gendered and raced bodies in performance -- Visibility and representation -- Butler and citation -- Masquerade and mimicry -- Mimicry, cultural stereotypes, and the post-colonial -- Spiderwoman: mimicry and counter-mimicry -- Countermimicry and cultural representation 223 Coco Fusco -- Gomez-Pena's border crossings -- Yes Men: corporate countermimicry -- problem of re-inscription -- Strategic essentialism and the politics of representation -- Latinx -- Performance and the community -- Political performance at the end of the century -- Ecological performance -- Inter cultural performance in a global context -- Conclusion: what is performance? -- Performance and the blurring of boundaries -- Drawing conclusions -- Conquergood's 1991 survey of the field -- Performance studies international -- Overviews of the field -- Coda: an apologia for theatre
Summary "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 ; [and] 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"--Back cover
Bibliography Includes bibliographical references and indexes
Notes Print version record
Subject Arts, American -- 20th century.
Arts, Modern -- 20th century.
Performance art -- United States.
Performance art.
Form Electronic book
ISBN 1315271028 (electronic bk.)
1351983830 (electronic bk.)
9781315271026 (electronic bk.)
9781351983839 (electronic bk.)
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