The Methuen Drama Companion to Performance Art

Title Page
Copyright Page
Contents
Figures
Acknowledgments
Part I: Introduction
Chapter 1.1: Squaring Performance Art
I Setting the Stage
II A Contrapuntal Arrangement
Notes
References
Part II: Issues and Problems: Future Directions in Performance Art Research
Chapter 2.1: Reruns or New Turns
Communality of Performance Art
Reruns or New Turns
New Modalities of Spectatorship, Criticism, and Artist Agency
Notes
References
Chapter 2.2: Cross-disciplinarity and Antitheatrical Historiographies of Performance Art
Notes
References
Part III: Essays
Chapter 3.1: How Performance Art Makes History: Artists’ Auto-histories of Happenings and Fluxus in the 1960s
Documenting Performance Art’s Histories: Accounting for Happenings
Diagramming Performance Art’s Histories: Mapping Fluxus
The “Tomorrow’s Pasts” of Performance Art
Notes
References
Chapter 3.2: Queer Performativity: A Critical Genealogy of a Politics of Doing in Art Practice
Popular/Academic Discourses of Gender Performance or Queer Performativity
Tracing a Genealogy
Performativity in Linguistics, Philosophy, and Art: “Saying” (or Making) as Doing
Performativity and Queer/Feminist Performance and Theory
What is Queer? What is the Performative? What is Queer Performance?
What Can the Queer Performative Do for Us? Concluding Thoughts
Notes
References
Chapter 3.3: Taking Up Instructions for Becoming
Coda
Notes
References
Chapter 3.4: Caring for Black Corporealities: Experimental Black Performance
Notes
References
Chapter 3.5: Between Contemporary Art and Performance: Dramaturgy and Flow
Play, Performance, and Rethinking Experience in the Space of Art
The Complexity of Belonging
Dramaturgy: Visuality and Performance
Notes
References
Chapter 3.6: Acting Ethical: Performance Art Goes Public
Notes
References
Chapter 3.7: Compassionate Acts: Performance as Radical Care
Radical Intimacies
Methodologies of Care
The Space between Bodies
The Latitude of a Body
What Holds Us
Notes
References
Chapter 3.8: The Labor of the Artist, Feminist Practices, and Troubles with Infrastructure
I
II
Notes
References
Chapter 3.9: Gestural Study
Regimentation and Recording
The Affectory
The Coming Body Language
Open Ending
Notes
References
Chapter 3.10: Stomaching It: Testing Endurance in Black Performance Art
Notes
References
Chapter 3.11: Performative Bodies and Artists/Spectators: The Case of Radical Latina and Latin American Women Artists in Exhibition
Notes
References
Chapter 3.12: Framing Live Art
Notes
References
Chapter 3.13: From the Institution of Performance to the Performance of Institutions
The Fear of “Speculation”
Measuring Museums, or the Institution of Performance
The “Spectrality” of the Not-So-Live Arts
The Performance of Institutions
Notes
References
Chapter 3.14: Performance in the Age of the Technosphere
Life in the Technosphere
Mixing up Bodies
Immersion and the Technical Umwelt
The New Beings are Released or How Machines Experience
Algorithms Take Command
Unthought: The Birth of Microperformativity
Notes
References
Part IV: Annotated Bibliography and Resources
Annotated Bibliography
1 Histories of Performance Art from Western Europe and North America
2 Global Performance: Histories and Theories at the Edge of the “West”
3 Performance at the Intersection of Feminism, Queerness, and Critical Race Studies
4 Biopolitics—Corporealities—Body Art—Endurance Art
5 Philosophies of Performance
6 Performance and the Participatory, Social, Public, AND Documentary
7 Performance and Intermediality, New Media, and Digital Culture
8 Reperformance and Archive; Performance/Dance in the Gallery; Curating Live Arts
9 Exhibition Catalogs
10 Online Resources and Archives
11 Journals and Magazines: Special Issues
Contributors
Index