Professing Performance
Theatre in the Academy from Philology to Performativity
1st Edition
Published on 4. April 2011
978-0-511-83793-7 (ISBN)
Description
Today's academic discourse is filled with the word 'perform'. Nestled amongst a variety of prefixes and suffixes (re-, post-, -ance, -ivity?), the term functions as a vehicle for a host of contemporary inquiries. For students, artists, and scholars of performance and theatre, this development is intriguing and complex. By examining the history of theatre studies and related institutions and by comparing the very different disciplinary interpretations and developments that led to this engagement, Professing Performance offers ways of placing performance theory and performance studies in context. This 2004 book considers the connection amongst a range of performance forms such as oratory, theatre, dance, and performance art and explores performance as both a humanistic and technical field of education. Throughout, she explores the institutional history of performance in the US academy in order to revise current debates around the role of the arts and humanities in higher education.
Reviews / Votes
"Highly recommended for its detailed treatment of the obstacles and promise of performance studies." Theatre Journal "Although a relatively slim volume, Professing Performance is an unusually ambitious, far-ranging and richly textured study." The Drama Review David SavranMore details
Series
Language
English
Place of publication
Cambridge
United Kingdom
Publishing group
Cambridge University Press
Target group
Professional and scholarly
College/higher education
Illustrations
Worked examples or Exercises
File size
1,74 MB
ISBN-13
978-0-511-83793-7 (9780511837937)
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Schweitzer Classification
Other editions
Additional editions
Book
04/2004
Cambridge University Press
€129.00
Shipment within 15-20 days
Person
Content
1. Discipline and performance: genealogy and discontinuity; 2. Institutions and performance: professing performance in the early twentieth century; 3. Culture and Performance: structures of dramatic feeling; 4. Practice and performance: modernist paradoxes and literalist legacies; 5. History and performance: blurred genres and the particularising of the past; 6. Identity and performance: racial performativity and anti-racist theatre.
