The Cambridge Companion to Performance Studies

The Cambridge Companion to Performance Studies

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Description

Since the turn of the century, Performance Studies has emerged as an increasingly vibrant discipline. Its concerns - embodiment, ethical research and social change - are held in common with many other fields, however a unique combination of methods and applications is used in exploration of the discipline. Bridging live art practices - theatre, performance art and dance - with technological media, and social sciences with humanities, it is truly hybrid and experimental in its techniques. This Companion brings together specially commissioned essays from leading scholars who reflect on their own experiences in Performance Studies and the possibilities this offers to representations of identity, self-and-other, and communities. Theories which have been absorbed into the field are applied to compelling topics in current academic, artistic and community settings. The collection is designed to reflect the diversity of outlooks and provide a guide for students as well as scholars seeking a perspective on research trends.show more

Product details

  • Online resource | 188 pages
  • Cambridge University Press (Virtual Publishing)
  • Cambridge, United Kingdom
  • 4 b/w illus.
  • 1139002007
  • 9781139002004

About Tracy C. Davis

Tracy C. Davis is Barber Professor of Performing Arts at Northwestern University.show more

Table of contents

Introduction: The pirouette, detour, revolution, deflection, deviation, tack, and yaw of the performative turn Tracy C. Davis; Part I. Social polities: history in individuals: 1. Performance and democracy Nicholas Ridout; 2. Performance as research: live events and documents Baz Kershaw; 3. Movement's contagion: the kinesthetic impact of performance Susan Leigh Foster; 4. Performance matters: Bali and Baliology in the years of living dangerously John Emigh; 5. Universal experience: the city as tourist stage Susan Bennett; 6. Performance and intangible culture heritage Diana Taylor; Part II. Body politics: the individual in history; 7. Live and technologically mediated performance Philip Auslander; 8. Moving histories: performance and oral history Della Pollock; 9. What is the 'social' in social practice?: comparing experiments in performance Shannon Jackson; 10. Live art in art history: a paradox? Amelia Jones; 11. Queer theory E. Patrick Johnson.show more

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