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Summary
Following on from the highly successful first anthology of critical and theoretical writings on performance studies, this is an updated and significantly expanded second edition which brings the anthology up to date with current debate. The new edition contains expanded introductory essays and eight entirely new pieces, and is cross-referenced with Richard Schechner's second edition of Performance Studies: An Introduction. The two volumes combine perfectly to offer a unique and complete teaching resource. This important collection is also widely used by students and scholars around the world as a stand-alone text, offering a stimulating introduction to the crucial debates of performance studies. Collecting together key critical pieces, the Reader provides an overview of the full range of performance theory for undergraduates at all levels, and beginning graduate students in performance studies, theatre, performing arts and cultural studies.
Table of Contents
| Contributors | p. xii |
| Acknowledgements | p. xix |
| Introduction | p. 1 |
| What is performance studies? | p. 5 |
| Performance studies: the broad spectrum approach | p. 7 |
| Disciplines of the text: sites of performance | p. 10 |
| The liminal-norm | p. 26 |
| Professing performances: disciplinary genealogies | p. 32 |
| Performance studies | p. 43 |
| Performance studies in an age of terror | p. 56 |
| What is performance? | p. 59 |
| Performances: belief in the part one is playing | p. 61 |
| Blurred genres: the refiguration of social thought | p. 66 |
| What is performance? | p. 70 |
| Life the movie | p. 76 |
| Marina Abramovic: witnessing shadows | p. 78 |
| Ritual | p. 87 |
| Liminality and communitas | p. 89 |
| "Performance" and other analogies | p. 98 |
| "The blood that runs through the veins": the creation of identity and a client's experience of Cuban-American Santeria Dilogun divination | p. 107 |
| Saint Orlan: ritual as violent spectacle and cultural criticism | p. 118 |
| Performative commemoratives, the personal, and the public: spontaneous shrines, emergent ritual | p. 125 |
| Play | p. 135 |
| The nature and significance of play as a cultural phenomenon | p. 137 |
| A theory of play and fantasy | p. 141 |
| The ambiguity of play: rhetorics of fate | p. 152 |
| Just doing | p. 159 |
| Falling apart to stay together: deep play in the Grand Marais Mardi Gras | p. 164 |
| Performativity | p. 175 |
| How to do things with-words: lecture II | p. 177 |
| Excerpt from "Signature Event Context" | p. 184 |
| Performative acts and gender constitution: an essay in phenomenonology and feminist theory | p. 187 |
| Introduction to Performativity and Performance | p. 200 |
| Theater and anthropology, theatricality and culture | p. 208 |
| Performing | p. 217 |
| A dialogue about acting | p. 219 |
| The actor's technique | p. 223 |
| A dream of passion | p. 229 |
| Presenting and re-presenting the self: from not-acting to acting in African performance | p. 231 |
| Reconsidering Stanislavsky: feeling, feminism, and the actor | p. 249 |
| Performance processes | p. 263 |
| First attempts at a stylized theatre | p. 265 |
| The oral artist: training and preparation | p. 274 |
| The performance text | p. 280 |
| The deep order called turbulence: the three faces of dramaturgy | p. 300 |
| The archaeology of performance | p. 310 |
| Global and intercultural performances | p. 321 |
| Performing ethnography | p. 323 |
| Of mimicry and man | p. 337 |
| Culturas-in-extremis: performing against the cultural backdrop of the mainstream bizarre | p. 345 |
| Reverend Billy: preaching, protest, and post-industrial flanerie | p. 357 |
| Performance studies: interventions and radical research | p. 369 |
| Translating performance | p. 381 |
| Index | p. 337 |
| Table of Contents provided by Ingram. All Rights Reserved. |
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