Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y ... more Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne.
To be read alongside Arseli Dokumaci’s contribution to this issue, Katherine Zien’s article treat... more To be read alongside Arseli Dokumaci’s contribution to this issue, Katherine Zien’s article treats questions of ethics, affect, labor, and autonomy in Disabled Theater (DT), a performance created by Swiss performing company Theatre HORA and French choreographer Jérôme Bel. DT evinces traits of the artistic production of both contributors, yet HORA has made the piece its own by touring it around the world, for over 100 performances since its premiere in 2012. For better or worse, DT has become a signature piece for HORA and, in Zien’s terms, a “mobile social realm” offering a space where members of HORA can experiment with new ways of living and working together. The ethical and social dimensions of DT – and company members’ responses to them – have conditioned HORA’s expanded investigation of aesthetic and political control and collaboration that performance scholar Yvonne Schmidt examines in later productions. In addition to providing room for political and aesthetic exploration, D...
This wide-ranging, exploratory treatise on performance and the self offers surprises and revelati... more This wide-ranging, exploratory treatise on performance and the self offers surprises and revelations along its peripatetic journey through classical philosophy and critical theory, feminist and gender theory, literature, visual arts, ethnography, and several performance genealogies. Revealing an impressive depth and breadth of expertise on performance in relation to other aesthetic media past and present, Alcázar boldly advocates for performance art (synonymized with body art, "arte no objetual," "arte acción," and other terms) as a form revolving around the subject, even as that subject has undergone constant change, lately dismantled by poststructuralism. Alcázar's investigation turns on a paradox: while performance may be about the self, what does this mean if there is no "self" (in the event that we agree on that point, and not everyone does)? The larger challenge is to write cogently on performance, a multifaceted form that lacks a center and has lately come to permeate many other aesthetic and social realms (271). Alcázar tackles questions around the history and recent fate of "autoconocimiento" in light of a series of topical debates that she unfurls with aplomb. While chronicling the turns of the subject in the histories of literary autobiography (85-96; 101-106; 238-44), self-portraiture (107-17), and an internationalized performance art ecology that is also firmly grounded in post-1960s Mexico's rich history of "arte no objetual" (60-70), Alcázar introduces us to scores of artists working in performance, visual arts, "artes plásticas," and multimedia, from the 1960s to the present. Rather than entering the genealogy of performance through theatre (theatre is basically absent from the book), she approaches the thorny "subject-under-erasure" through phenomenology, theories of self-reflexivity, and aesthetics. Alcázar asserts that performance has (perhaps unintentionally) inherited the techniques and concerns of autobiographical writing and self-portraiture from ancient Greece through the works of Montaigne, Rousseau, and Rembrandt, and into a modernity whose crisis
techniques of re-mediation when a Shakespearean play is moved from page to stage. As Stroud demon... more techniques of re-mediation when a Shakespearean play is moved from page to stage. As Stroud demonstrates, working in artistic forms so removed from each other as dramatic text and dance, "image can supplant the function of the narrative line while sustaining the integrity of the text" (59). Lawrence Howe concludes this line of academic inquiry by focusing on John Greyson's cinematic adaptations of Michel Marc Bouchard's dramaturgy. As he argues, cinematic adaptations, often better than original theatre plays or productions, can reveal sensitive social and political issues, including the questions of gender politics and institutional oppression. Specifically, he argues, "drawing on a striking range of intertextual procedures, Lilies subtly expands the scope of its criticism of homophobia in Canadian culture, rather than eliding or softening the critical stance of Bouchard's Les Feluettes" (204). In conclusion, I would like to return to the premise of this edited collection, which reminds us that "live performance does not only offer a tool to analyze and explore types of adaptation but is essentially a type of adaptation itself " (xviii). In its interdisciplinary positioning, the art of adaptation borrows various story-telling devices of two or more performing media brought together or juxtaposed with each other in this gesture of moving stories across performing borders. By bringing together academic articles, archival materials, interviews, and primary texts of adaptations themselves, the collection successfully maps out a large and diverse territory of contemporary adaptation techniques in theatre, a welcome addition to this emerging field in theatre studies today. NATALIE ALVAREZ, ed. Fronteras Vivientes: Eight Latina/o Canadian Plays.
señalan que pese a que el "performance" sigue siendo un concepto inestable y controvertido, mucho... more señalan que pese a que el "performance" sigue siendo un concepto inestable y controvertido, muchos teóricos insisten en tratar de definirlo. En lugar de buscar los elementos cruciales -arguyen estos autores-deberíamos preguntarnos cosas como: "¿qué hacen los performances?". "¿De qué manera se posicionan los estudios del performance frente a sus 'objetos' de estudio?" (2009.1). La antología Estudios avanzados de performance nos ofrece ensayos de autores cuyas investigaciones giran precisamente en torno a estas cuestiones. En lugar de traducir una de las colecciones existentes, las editoras Diana Taylor y Marcela Fuentes decidieron armar una propia, orientada hacia el performance en las Américas. Este volumen interdisciplinario aborda distintos temas, incluyendo el performance como medio de transmisión del conocimiento, la memoria social y las (des)identificaciones; la relativa inestabilidad del performance como categoría analítica; el cuerpo performático como sitio de expresión política, estética y social; el espacio del performance; la performatividad; el psicoanálisis; la fenomenología; el folklore ritual y el despliegue de lo etnográfico; el género y la sexualidad; la crítica racial; la globalización; el poscolonialismo, y la nacionalidad. Se trata de un volumen avanzado con pocas lecturas básicas, por lo que se recomienda a los estudiantes que apenas incursionan en el tema consultar antes un volumen introductorio. 2 No obstante, a cada capítulo le precede
Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y ... more Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne.
To be read alongside Arseli Dokumaci’s contribution to this issue, Katherine Zien’s article treat... more To be read alongside Arseli Dokumaci’s contribution to this issue, Katherine Zien’s article treats questions of ethics, affect, labor, and autonomy in Disabled Theater (DT), a performance created by Swiss performing company Theatre HORA and French choreographer Jérôme Bel. DT evinces traits of the artistic production of both contributors, yet HORA has made the piece its own by touring it around the world, for over 100 performances since its premiere in 2012. For better or worse, DT has become a signature piece for HORA and, in Zien’s terms, a “mobile social realm” offering a space where members of HORA can experiment with new ways of living and working together. The ethical and social dimensions of DT – and company members’ responses to them – have conditioned HORA’s expanded investigation of aesthetic and political control and collaboration that performance scholar Yvonne Schmidt examines in later productions. In addition to providing room for political and aesthetic exploration, D...
This wide-ranging, exploratory treatise on performance and the self offers surprises and revelati... more This wide-ranging, exploratory treatise on performance and the self offers surprises and revelations along its peripatetic journey through classical philosophy and critical theory, feminist and gender theory, literature, visual arts, ethnography, and several performance genealogies. Revealing an impressive depth and breadth of expertise on performance in relation to other aesthetic media past and present, Alcázar boldly advocates for performance art (synonymized with body art, "arte no objetual," "arte acción," and other terms) as a form revolving around the subject, even as that subject has undergone constant change, lately dismantled by poststructuralism. Alcázar's investigation turns on a paradox: while performance may be about the self, what does this mean if there is no "self" (in the event that we agree on that point, and not everyone does)? The larger challenge is to write cogently on performance, a multifaceted form that lacks a center and has lately come to permeate many other aesthetic and social realms (271). Alcázar tackles questions around the history and recent fate of "autoconocimiento" in light of a series of topical debates that she unfurls with aplomb. While chronicling the turns of the subject in the histories of literary autobiography (85-96; 101-106; 238-44), self-portraiture (107-17), and an internationalized performance art ecology that is also firmly grounded in post-1960s Mexico's rich history of "arte no objetual" (60-70), Alcázar introduces us to scores of artists working in performance, visual arts, "artes plásticas," and multimedia, from the 1960s to the present. Rather than entering the genealogy of performance through theatre (theatre is basically absent from the book), she approaches the thorny "subject-under-erasure" through phenomenology, theories of self-reflexivity, and aesthetics. Alcázar asserts that performance has (perhaps unintentionally) inherited the techniques and concerns of autobiographical writing and self-portraiture from ancient Greece through the works of Montaigne, Rousseau, and Rembrandt, and into a modernity whose crisis
techniques of re-mediation when a Shakespearean play is moved from page to stage. As Stroud demon... more techniques of re-mediation when a Shakespearean play is moved from page to stage. As Stroud demonstrates, working in artistic forms so removed from each other as dramatic text and dance, "image can supplant the function of the narrative line while sustaining the integrity of the text" (59). Lawrence Howe concludes this line of academic inquiry by focusing on John Greyson's cinematic adaptations of Michel Marc Bouchard's dramaturgy. As he argues, cinematic adaptations, often better than original theatre plays or productions, can reveal sensitive social and political issues, including the questions of gender politics and institutional oppression. Specifically, he argues, "drawing on a striking range of intertextual procedures, Lilies subtly expands the scope of its criticism of homophobia in Canadian culture, rather than eliding or softening the critical stance of Bouchard's Les Feluettes" (204). In conclusion, I would like to return to the premise of this edited collection, which reminds us that "live performance does not only offer a tool to analyze and explore types of adaptation but is essentially a type of adaptation itself " (xviii). In its interdisciplinary positioning, the art of adaptation borrows various story-telling devices of two or more performing media brought together or juxtaposed with each other in this gesture of moving stories across performing borders. By bringing together academic articles, archival materials, interviews, and primary texts of adaptations themselves, the collection successfully maps out a large and diverse territory of contemporary adaptation techniques in theatre, a welcome addition to this emerging field in theatre studies today. NATALIE ALVAREZ, ed. Fronteras Vivientes: Eight Latina/o Canadian Plays.
señalan que pese a que el "performance" sigue siendo un concepto inestable y controvertido, mucho... more señalan que pese a que el "performance" sigue siendo un concepto inestable y controvertido, muchos teóricos insisten en tratar de definirlo. En lugar de buscar los elementos cruciales -arguyen estos autores-deberíamos preguntarnos cosas como: "¿qué hacen los performances?". "¿De qué manera se posicionan los estudios del performance frente a sus 'objetos' de estudio?" (2009.1). La antología Estudios avanzados de performance nos ofrece ensayos de autores cuyas investigaciones giran precisamente en torno a estas cuestiones. En lugar de traducir una de las colecciones existentes, las editoras Diana Taylor y Marcela Fuentes decidieron armar una propia, orientada hacia el performance en las Américas. Este volumen interdisciplinario aborda distintos temas, incluyendo el performance como medio de transmisión del conocimiento, la memoria social y las (des)identificaciones; la relativa inestabilidad del performance como categoría analítica; el cuerpo performático como sitio de expresión política, estética y social; el espacio del performance; la performatividad; el psicoanálisis; la fenomenología; el folklore ritual y el despliegue de lo etnográfico; el género y la sexualidad; la crítica racial; la globalización; el poscolonialismo, y la nacionalidad. Se trata de un volumen avanzado con pocas lecturas básicas, por lo que se recomienda a los estudiantes que apenas incursionan en el tema consultar antes un volumen introductorio. 2 No obstante, a cada capítulo le precede
Eidsheim's formulation of music as vibrational practice engenders new ways of considering communi... more Eidsheim's formulation of music as vibrational practice engenders new ways of considering communication between singer and audience, environment and body, and animate and inanimate materials. In doing so, Eidsheim's reframing of sounds as dynamically relational events engages political, cultural, racial, feminist and ecological currents in sound and music studies. Her work generates wide-ranging and pragmatic resonances for those interested in questions surrounding sound and multi-sensory experience.
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