M. Heather Carver and Elaine J. Lawless
- Published in print:
- 2009
- Published Online:
- March 2014
- ISBN:
- 9781604732085
- eISBN:
- 9781604733471
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781604732085.001.0001
- Subject:
- Sociology, Gender and Sexuality
This book, which follows the collaboration between the author, a performance studies professor, and ethnographic folklorist Elaine J. Lawless, traces the creative development of a performance troupe ...
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This book, which follows the collaboration between the author, a performance studies professor, and ethnographic folklorist Elaine J. Lawless, traces the creative development of a performance troupe in which women take the stage to narrate true, harrowing experiences of domestic violence and then invite audience members to discuss the tales. Similar to the performances, it presents real-life narratives as a means of heightening social awareness and dialogue about intimate partner violence. “Troubling violence” refers not only to the cultures in our society that are “troubling,” but also to the authors’ intent to “trouble” perceptions that enforce social, cultural, legal, and religious attitudes that perpetuate abuse against women. Performance, the book argues, enhances ethnographic research and writing by allowing ethnographers to approach both their field studies and their ethnographic writing as performance. The book also demonstrates how ethnography enhances the study of performance. The authors discuss the development of the Troubling Violence Performance Project in conjunction with their own “performances” within the academy.Less
This book, which follows the collaboration between the author, a performance studies professor, and ethnographic folklorist Elaine J. Lawless, traces the creative development of a performance troupe in which women take the stage to narrate true, harrowing experiences of domestic violence and then invite audience members to discuss the tales. Similar to the performances, it presents real-life narratives as a means of heightening social awareness and dialogue about intimate partner violence. “Troubling violence” refers not only to the cultures in our society that are “troubling,” but also to the authors’ intent to “trouble” perceptions that enforce social, cultural, legal, and religious attitudes that perpetuate abuse against women. Performance, the book argues, enhances ethnographic research and writing by allowing ethnographers to approach both their field studies and their ethnographic writing as performance. The book also demonstrates how ethnography enhances the study of performance. The authors discuss the development of the Troubling Violence Performance Project in conjunction with their own “performances” within the academy.
Jennifer Solheim
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9781786940827
- eISBN:
- 9781786945082
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781786940827.001.0001
- Subject:
- Society and Culture, Media Studies
The Performance of Listening in Postcolonial Francophone Culture argues That globalized media has allowed for efficient transmission of transnational culture, and in turn, our everyday experiences ...
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The Performance of Listening in Postcolonial Francophone Culture argues That globalized media has allowed for efficient transmission of transnational culture, and in turn, our everyday experiences are informed by sounds ranging from voices, to music, to advertising, to bombs, and beyond. In considering cultural works from French-speaking North Africa and the Middle East all published or released in France from 1962-2011, Solheim’s study of listening across cultural genres will be of interest to any scholar or lay person interested in contemporary postcolonial France. This book is also a primer to contemporary Francophone culture from North Africa and the Middle East. Some of the French-speaking world’s most renowned and adored artists are the subject of this study, including preeminent Algerian feminist novelist, filmmaker and historian Assia Djebar (1936-2015), the first writer of the Maghreb to become part of the Académie Française; celebrated Iranian graphic novelist and filmmaker Marjane Satrapi (Persepolis, Chicken with Plums); the lauded Lebanese-Québecois playwright and dramaturge Wajdi Mouawad (Littorial, Incendies), and Lebanese comic artist and avant jazz trumpeter Mazen Kerbaj, whose improvisation with Israeli fighter jets during the 2006 Israeli War, “Starry Night,” catapulted him to global recognition. An interdisciplinary study of contemporary Francophone cultures, this book will be of interest to scholars and students in literary studies, performance studies, gender studies, anthropology, history, and ethnomusicology.Less
The Performance of Listening in Postcolonial Francophone Culture argues That globalized media has allowed for efficient transmission of transnational culture, and in turn, our everyday experiences are informed by sounds ranging from voices, to music, to advertising, to bombs, and beyond. In considering cultural works from French-speaking North Africa and the Middle East all published or released in France from 1962-2011, Solheim’s study of listening across cultural genres will be of interest to any scholar or lay person interested in contemporary postcolonial France. This book is also a primer to contemporary Francophone culture from North Africa and the Middle East. Some of the French-speaking world’s most renowned and adored artists are the subject of this study, including preeminent Algerian feminist novelist, filmmaker and historian Assia Djebar (1936-2015), the first writer of the Maghreb to become part of the Académie Française; celebrated Iranian graphic novelist and filmmaker Marjane Satrapi (Persepolis, Chicken with Plums); the lauded Lebanese-Québecois playwright and dramaturge Wajdi Mouawad (Littorial, Incendies), and Lebanese comic artist and avant jazz trumpeter Mazen Kerbaj, whose improvisation with Israeli fighter jets during the 2006 Israeli War, “Starry Night,” catapulted him to global recognition. An interdisciplinary study of contemporary Francophone cultures, this book will be of interest to scholars and students in literary studies, performance studies, gender studies, anthropology, history, and ethnomusicology.
Kristian Kloeckl
- Published in print:
- 2020
- Published Online:
- May 2020
- ISBN:
- 9780300243048
- eISBN:
- 9780300249347
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300243048.003.0004
- Subject:
- Architecture, Architectural History
This chapter examines the nature of improvisation as a concept and practice, drawing on literature from the social sciences, humanities, performance studies, and the emerging field of critical ...
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This chapter examines the nature of improvisation as a concept and practice, drawing on literature from the social sciences, humanities, performance studies, and the emerging field of critical improvisation. By providing an understanding of the nature of improvisation, some of its key characteristics, and its historical ties with the urban context, this chapter provides a basis for the work with improvisation for the design in a hybrid city context. The radical and experimental work from the 1960s has gained new significance today, and networked information technologies have reached levels of performance and pervasiveness that were unthinkable half a century ago. Past works have used improvisation predominantly as a concept and metaphor. This chapter suggests, instead, that we consider improvisation more thoroughly to inform a method for the design of interactions in hybrid city environments.Less
This chapter examines the nature of improvisation as a concept and practice, drawing on literature from the social sciences, humanities, performance studies, and the emerging field of critical improvisation. By providing an understanding of the nature of improvisation, some of its key characteristics, and its historical ties with the urban context, this chapter provides a basis for the work with improvisation for the design in a hybrid city context. The radical and experimental work from the 1960s has gained new significance today, and networked information technologies have reached levels of performance and pervasiveness that were unthinkable half a century ago. Past works have used improvisation predominantly as a concept and metaphor. This chapter suggests, instead, that we consider improvisation more thoroughly to inform a method for the design of interactions in hybrid city environments.
Xin Wei Sha
- Published in print:
- 2014
- Published Online:
- September 2014
- ISBN:
- 9780262019514
- eISBN:
- 9780262318914
- Item type:
- book
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262019514.001.0001
- Subject:
- Philosophy, Aesthetics
Movement, and in particular, gesture are arguably essential aspects of engendering human experience. But rather than taking “the body” or “cognition” for granted as conceptual starting points, we ...
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Movement, and in particular, gesture are arguably essential aspects of engendering human experience. But rather than taking “the body” or “cognition” for granted as conceptual starting points, we attend to the substrate matter in which gesture takes shape and place. An experimental approach to such questions motivates the exploration of responsive, and in particular, computational media created for sustaining experientially rich, improvisational activity. This book explores rehearsed as well as unrehearsed activity in distributed, continuous fields of responsive media—topological matter. This philosophical and interdisciplinary investigation reworks our understanding of embodiment and the formation of subjective experience. The investigation also puts in play notions such as interaction, responsive media and performativity, contributing to contemporary exchanges between art and philosophy. This draws on emerging techniques in computational video, realtime gestural sound, sensors, and active textiles, as well as experimental techniques in performance, movement, and visual arts. It also offers insights and inspirations for designers, media artists, musicians, movement artists, architects, researchers in multimedia, interaction design, interactive and responsive environments, architecture, science and technology studies, philosophy and cultural studies.Less
Movement, and in particular, gesture are arguably essential aspects of engendering human experience. But rather than taking “the body” or “cognition” for granted as conceptual starting points, we attend to the substrate matter in which gesture takes shape and place. An experimental approach to such questions motivates the exploration of responsive, and in particular, computational media created for sustaining experientially rich, improvisational activity. This book explores rehearsed as well as unrehearsed activity in distributed, continuous fields of responsive media—topological matter. This philosophical and interdisciplinary investigation reworks our understanding of embodiment and the formation of subjective experience. The investigation also puts in play notions such as interaction, responsive media and performativity, contributing to contemporary exchanges between art and philosophy. This draws on emerging techniques in computational video, realtime gestural sound, sensors, and active textiles, as well as experimental techniques in performance, movement, and visual arts. It also offers insights and inspirations for designers, media artists, musicians, movement artists, architects, researchers in multimedia, interaction design, interactive and responsive environments, architecture, science and technology studies, philosophy and cultural studies.
Brittany P. Kennedy
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9781628461978
- eISBN:
- 9781626744943
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781628461978.001.0001
- Subject:
- Literature, 20th-century Literature and Modernism
For centuries, Spain and the South have existed on the margins of U.S. and European identities—as much for the Francoist and Jim Crow periods as for their “exotic” cultures and sunny beaches ...
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For centuries, Spain and the South have existed on the margins of U.S. and European identities—as much for the Francoist and Jim Crow periods as for their “exotic” cultures and sunny beaches attractive to tourists worldwide. Between Distant Modernities theorizes this trans-Atlantic link to show exactly how Spanish and Southern exceptionality became a performance developed as a specific response to modernity, and its perceived threat of homogenization, in the United States and Europe across the twentieth century. Seeing the War of 1898 as a climactic moment, this book begins by exploring the writings of the Nashville Agrarians and members of the so-called Generation of 1898, who each tried to regenerate a “traditional” Spain and South located in an agrarian past. That desire is constantly re-enacted by main characters in cultural production across the twentieth century as these characters simultaneously enact and problematize the issue of self/other, exile/citizen, and tourist/native that dominate both literary traditions.Less
For centuries, Spain and the South have existed on the margins of U.S. and European identities—as much for the Francoist and Jim Crow periods as for their “exotic” cultures and sunny beaches attractive to tourists worldwide. Between Distant Modernities theorizes this trans-Atlantic link to show exactly how Spanish and Southern exceptionality became a performance developed as a specific response to modernity, and its perceived threat of homogenization, in the United States and Europe across the twentieth century. Seeing the War of 1898 as a climactic moment, this book begins by exploring the writings of the Nashville Agrarians and members of the so-called Generation of 1898, who each tried to regenerate a “traditional” Spain and South located in an agrarian past. That desire is constantly re-enacted by main characters in cultural production across the twentieth century as these characters simultaneously enact and problematize the issue of self/other, exile/citizen, and tourist/native that dominate both literary traditions.
Brahma Prakash
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9780199490813
- eISBN:
- 9780199095858
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780199490813.003.0001
- Subject:
- Literature, Drama, Folk Literature
The introduction foregrounds the field of study and introduces the concepts and specific contexts in which the study is undertaken. It problematizes the existing binaries that remain between culture ...
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The introduction foregrounds the field of study and introduces the concepts and specific contexts in which the study is undertaken. It problematizes the existing binaries that remain between culture and labour and uncovers the uncanny relationship between them. The chapter asks what happens to culture and labour in their affective and performative turn, especially in ‘folk’ performances in India when labour becomes a performance, performance becomes labour. The irreducibility of such practices to culture or labour demands the formulation of some other category, and I designate it as cultural labour. Cultural labour is the core of the folk performance in South Asia and therefore the chapter argues that it can also work as a framework to study the performance cultures of subaltern communities. The chapter also discusses research method and methodology and introduces the five performances which have been undertaken in this work.Less
The introduction foregrounds the field of study and introduces the concepts and specific contexts in which the study is undertaken. It problematizes the existing binaries that remain between culture and labour and uncovers the uncanny relationship between them. The chapter asks what happens to culture and labour in their affective and performative turn, especially in ‘folk’ performances in India when labour becomes a performance, performance becomes labour. The irreducibility of such practices to culture or labour demands the formulation of some other category, and I designate it as cultural labour. Cultural labour is the core of the folk performance in South Asia and therefore the chapter argues that it can also work as a framework to study the performance cultures of subaltern communities. The chapter also discusses research method and methodology and introduces the five performances which have been undertaken in this work.
Mauro Calcagno (ed.)
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780520267688
- eISBN:
- 9780520951525
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520267688.001.0001
- Subject:
- Music, History, Western
This pathbreaking study links two traditionally separate genres as their stars crossed to explore the emergence of multiple selves in early modern Italian culture and society. Calcagno focuses on the ...
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This pathbreaking study links two traditionally separate genres as their stars crossed to explore the emergence of multiple selves in early modern Italian culture and society. Calcagno focuses on the works of Claudio Monteverdi, a master of both genres, to investigate how they reflect changing ideas about performance and role-playing by singers. The author traces the roots of dialogic subjectivity to Petrarch's love poetry, arguing that Petrarchism exerted a powerful influence, not only on late Renaissance literature and art, but also on music. Covering more than a century of music and cultural history, the book demonstrates that the birth of opera relied on an important feature of the madrigalian tradition: the role of the composer as a narrative agent enabling performers to become characters and hold a specific point of view.Less
This pathbreaking study links two traditionally separate genres as their stars crossed to explore the emergence of multiple selves in early modern Italian culture and society. Calcagno focuses on the works of Claudio Monteverdi, a master of both genres, to investigate how they reflect changing ideas about performance and role-playing by singers. The author traces the roots of dialogic subjectivity to Petrarch's love poetry, arguing that Petrarchism exerted a powerful influence, not only on late Renaissance literature and art, but also on music. Covering more than a century of music and cultural history, the book demonstrates that the birth of opera relied on an important feature of the madrigalian tradition: the role of the composer as a narrative agent enabling performers to become characters and hold a specific point of view.
M. Heather Carver and Elaine J. Lawless
- Published in print:
- 2009
- Published Online:
- March 2014
- ISBN:
- 9781604732085
- eISBN:
- 9781604733471
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781604732085.003.0003
- Subject:
- Sociology, Gender and Sexuality
This chapter discusses the work of Elaine Lawless and Heather Carver in identifying the intersections of performance studies and folklore studies as they emerged in the twenty-first century. Elaine ...
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This chapter discusses the work of Elaine Lawless and Heather Carver in identifying the intersections of performance studies and folklore studies as they emerged in the twenty-first century. Elaine and Heather argue that ethnography informs performance through a careful focus on the real stories of women’s lives. Performance informs the ethnographic project by turning the traditional theatrical focus of the actor on stage into a multilayered dialogic performance involving performers, stories, and listeners.Less
This chapter discusses the work of Elaine Lawless and Heather Carver in identifying the intersections of performance studies and folklore studies as they emerged in the twenty-first century. Elaine and Heather argue that ethnography informs performance through a careful focus on the real stories of women’s lives. Performance informs the ethnographic project by turning the traditional theatrical focus of the actor on stage into a multilayered dialogic performance involving performers, stories, and listeners.
Kathleen M. Gough
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780813044378
- eISBN:
- 9780813046471
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813044378.003.0010
- Subject:
- History, Cultural History
Drawing on insights from gender and performance studies, this chapter uses the careers and writings of Florida’s Zora Neale Hurston and Ireland’s Lady Augusta Gregory to examine the creation of both ...
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Drawing on insights from gender and performance studies, this chapter uses the careers and writings of Florida’s Zora Neale Hurston and Ireland’s Lady Augusta Gregory to examine the creation of both Black and Green Atlantics. By exploring their work and subsequent public reputations, it reveals how powerful notions of Irish and black, especially southern black, identity have been generated, disseminated, and redeployed around the Atlantic World, often with recourse to similar invocations of agrarianism, religiosity, and resistance (cultural and political) to oppression. The chapter also offers a pointed critique of the tendency to ignore or marginalize women in much Atlantic Studies.Less
Drawing on insights from gender and performance studies, this chapter uses the careers and writings of Florida’s Zora Neale Hurston and Ireland’s Lady Augusta Gregory to examine the creation of both Black and Green Atlantics. By exploring their work and subsequent public reputations, it reveals how powerful notions of Irish and black, especially southern black, identity have been generated, disseminated, and redeployed around the Atlantic World, often with recourse to similar invocations of agrarianism, religiosity, and resistance (cultural and political) to oppression. The chapter also offers a pointed critique of the tendency to ignore or marginalize women in much Atlantic Studies.
David Cameron and John Carroll
- Published in print:
- 2011
- Published Online:
- August 2013
- ISBN:
- 9780262015332
- eISBN:
- 9780262295369
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262015332.003.0009
- Subject:
- Computer Science, Game Studies
This chapter positions machinima within current discussions of liveness in performance studies. It shows that within the incorporeal species that make up the evolving ecology of machinima exists a ...
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This chapter positions machinima within current discussions of liveness in performance studies. It shows that within the incorporeal species that make up the evolving ecology of machinima exists a continuum of performance conventions that mirrors the conventions of process drama, on the one hand, and those of improvised cinema on the other, with each grade in the range connected to a specific level of liveness. Although all variations ultimately depend on the game engines for their dramatic frame, they occupy different niches, and different communities of practice have developed around them. The machinima performance range includes the following: live puppet machinima operating for a physically present audience, or a virtual audience in a shared game space; demos and “speed runs” working as game engine replay; and “recamming” of demo data files using software to alter game engine replay.Less
This chapter positions machinima within current discussions of liveness in performance studies. It shows that within the incorporeal species that make up the evolving ecology of machinima exists a continuum of performance conventions that mirrors the conventions of process drama, on the one hand, and those of improvised cinema on the other, with each grade in the range connected to a specific level of liveness. Although all variations ultimately depend on the game engines for their dramatic frame, they occupy different niches, and different communities of practice have developed around them. The machinima performance range includes the following: live puppet machinima operating for a physically present audience, or a virtual audience in a shared game space; demos and “speed runs” working as game engine replay; and “recamming” of demo data files using software to alter game engine replay.
Seeta Chaganti
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780226547992
- eISBN:
- 9780226548180
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226548180.001.0001
- Subject:
- History, European Medieval History
In Strange Footing, early dance reveals the medieval experience of poetic form. For premodern audiences, poetic form did not exist exclusively in a poem’s structural attributes. Rather, the form of a ...
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In Strange Footing, early dance reveals the medieval experience of poetic form. For premodern audiences, poetic form did not exist exclusively in a poem’s structural attributes. Rather, the form of a poem emerged as an experience, one generated when an audience habituated to watching and participating in dance encountered poetic text. In bringing dance-based perceptual practices to bear upon the apprehension of poetry, medieval audiences experienced a poem’s form as virtual, a strange footing askew of ordinary space and time. To understand how premodern dance-based experiences shaped premodern poetic encounters, Strange Footing formulates a new method for the study of the past. It juxtaposes medieval spectacles with instances of contemporary dance to reenact the immersive spectacle of the premodern performance. Danse macabre, for instance, finds elucidation in Lucinda Childs’s multimedia choreography; premodern round dance, meanwhile, yields new experiential aspects when read alongside the work of Mark Morris. When contemporary audiences and performers engage the work of Childs and Morris, they apprehend force and energy supplementing dancing bodies: the strange and sometimes disorienting virtuality of dance. Strange Footing uses these encounters to identify where medieval representations of dance convey the premodern spectator’s awareness of such virtuality. The medieval audience's apprehension of virtual force dictated their experiences of various poetic traditions, including carols, lyrics, and “dance of death” stanzas. In configuring a new method to interpret the past, Strange Footing redefines poetic form, demonstrating how the obliquities of virtual dance led medieval audiences through experiences of poetic form.Less
In Strange Footing, early dance reveals the medieval experience of poetic form. For premodern audiences, poetic form did not exist exclusively in a poem’s structural attributes. Rather, the form of a poem emerged as an experience, one generated when an audience habituated to watching and participating in dance encountered poetic text. In bringing dance-based perceptual practices to bear upon the apprehension of poetry, medieval audiences experienced a poem’s form as virtual, a strange footing askew of ordinary space and time. To understand how premodern dance-based experiences shaped premodern poetic encounters, Strange Footing formulates a new method for the study of the past. It juxtaposes medieval spectacles with instances of contemporary dance to reenact the immersive spectacle of the premodern performance. Danse macabre, for instance, finds elucidation in Lucinda Childs’s multimedia choreography; premodern round dance, meanwhile, yields new experiential aspects when read alongside the work of Mark Morris. When contemporary audiences and performers engage the work of Childs and Morris, they apprehend force and energy supplementing dancing bodies: the strange and sometimes disorienting virtuality of dance. Strange Footing uses these encounters to identify where medieval representations of dance convey the premodern spectator’s awareness of such virtuality. The medieval audience's apprehension of virtual force dictated their experiences of various poetic traditions, including carols, lyrics, and “dance of death” stanzas. In configuring a new method to interpret the past, Strange Footing redefines poetic form, demonstrating how the obliquities of virtual dance led medieval audiences through experiences of poetic form.
Samuel N. Dorf
- Published in print:
- 2019
- Published Online:
- December 2018
- ISBN:
- 9780190612092
- eISBN:
- 9780190612122
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190612092.003.0001
- Subject:
- Music, Dance, History, Western
This introduction provides historical and theoretical context and sets up the key questions explored in the book, including issues of authenticity and historically informed performance in musicology ...
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This introduction provides historical and theoretical context and sets up the key questions explored in the book, including issues of authenticity and historically informed performance in musicology and methods of performance studies that can be employed by musicology. It introduces two new ways of thinking about the performance of the musical past: re-enactment and reperformance. The introduction also highlights the theoretical methodologies by examining in parallel the historiography of musicology, archaeology, and photography in Paris in the 1890s and the first decades of the 1900s. It examines the tools and methods used throughout the book as well as those of late nineteenth- and early twentieth-century scholars.Less
This introduction provides historical and theoretical context and sets up the key questions explored in the book, including issues of authenticity and historically informed performance in musicology and methods of performance studies that can be employed by musicology. It introduces two new ways of thinking about the performance of the musical past: re-enactment and reperformance. The introduction also highlights the theoretical methodologies by examining in parallel the historiography of musicology, archaeology, and photography in Paris in the 1890s and the first decades of the 1900s. It examines the tools and methods used throughout the book as well as those of late nineteenth- and early twentieth-century scholars.
Mauro Calcagno
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780520267688
- eISBN:
- 9780520951525
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520267688.003.0008
- Subject:
- Music, History, Western
The singers' use of pure voice as empty, nonverbal sounding music is traced back to the aesthetics of Marino. It enables singers to shift the audience's perspective toward the narrative power of ...
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The singers' use of pure voice as empty, nonverbal sounding music is traced back to the aesthetics of Marino. It enables singers to shift the audience's perspective toward the narrative power of music per se, as well as toward themselves. Today, the opera director, by locating and moving the singers within the performance space, becomes yet another agent in the chain of appropriations inaugurated by the Petrarchist poets and the madrigalists; and in filmed productions, the video director becomes the last link of this chain. In the highly relativistic world of Monteverdi's L'incoronazione di Poppea, characters such as Otho and the two soldiers provide a perspective on, respectively, Poppea and Seneca. Thanks to the focalizing effect generated by these characters, but also depending on the choices of opera or video directors, the audience perceives the events of the opera in a particular way, absorbing a worldview conveyed by the performance and mediating it with its own.Less
The singers' use of pure voice as empty, nonverbal sounding music is traced back to the aesthetics of Marino. It enables singers to shift the audience's perspective toward the narrative power of music per se, as well as toward themselves. Today, the opera director, by locating and moving the singers within the performance space, becomes yet another agent in the chain of appropriations inaugurated by the Petrarchist poets and the madrigalists; and in filmed productions, the video director becomes the last link of this chain. In the highly relativistic world of Monteverdi's L'incoronazione di Poppea, characters such as Otho and the two soldiers provide a perspective on, respectively, Poppea and Seneca. Thanks to the focalizing effect generated by these characters, but also depending on the choices of opera or video directors, the audience perceives the events of the opera in a particular way, absorbing a worldview conveyed by the performance and mediating it with its own.
Hannah Schwadron
- Published in print:
- 2018
- Published Online:
- December 2017
- ISBN:
- 9780190624194
- eISBN:
- 9780190624231
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190624194.003.0001
- Subject:
- Music, Dance
This introductory chapter frames the book’s emphasis on the twenty-first-century Sexy Jewess, whose image proliferates in neoburlesque, comedy, mainstream film, and progressive pornography. A review ...
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This introductory chapter frames the book’s emphasis on the twenty-first-century Sexy Jewess, whose image proliferates in neoburlesque, comedy, mainstream film, and progressive pornography. A review of significant literature in Jewish studies, gender and sexuality studies, and dance and performance studies (1) introduces how performers complicate self-critical jokes of the excessive Jewish female body by playing up their differences, (2) historicizes the techniques that performers employ to mimic and master different ideas of sexiness, and (3) theorizes how performances of Jewish female identity use the body to participate in and parody notions of appropriate femininity as they relate to white womanhood.Less
This introductory chapter frames the book’s emphasis on the twenty-first-century Sexy Jewess, whose image proliferates in neoburlesque, comedy, mainstream film, and progressive pornography. A review of significant literature in Jewish studies, gender and sexuality studies, and dance and performance studies (1) introduces how performers complicate self-critical jokes of the excessive Jewish female body by playing up their differences, (2) historicizes the techniques that performers employ to mimic and master different ideas of sexiness, and (3) theorizes how performances of Jewish female identity use the body to participate in and parody notions of appropriate femininity as they relate to white womanhood.
J. Michelle Coghlan
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9781474411202
- eISBN:
- 9781474426800
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474411202.001.0001
- Subject:
- Literature, American, 19th Century Literature
In refocusing attention on the Paris Commune as a key event in American political and cultural memory, Sensational Internationalism radically changes our understanding of the relationship between ...
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In refocusing attention on the Paris Commune as a key event in American political and cultural memory, Sensational Internationalism radically changes our understanding of the relationship between France and the United States in the long nineteenth century. It offers fascinating, remarkably accessible readings of a range of literary works, from periodical poetry and boys’ adventure fiction to radical pulp and the writings of Henry James, as well as a rich analysis of visual, print, and performance culture, from post-bellum illustrated weeklies and panoramas to agit-prop pamphlets and Coney Island pyrotechnic shows. Throughout, it uncovers how a foreign revolution came back to life as a domestic commodity, and why for decades another nation’s memory came to feel so much our own. This book will speak to readers looking to understand the affective, cultural, and aesthetic afterlives of revolt and revolution pre-and-post Occupy Wall Street, as well as those interested in space, gender, performance, and transatlantic print culture.Less
In refocusing attention on the Paris Commune as a key event in American political and cultural memory, Sensational Internationalism radically changes our understanding of the relationship between France and the United States in the long nineteenth century. It offers fascinating, remarkably accessible readings of a range of literary works, from periodical poetry and boys’ adventure fiction to radical pulp and the writings of Henry James, as well as a rich analysis of visual, print, and performance culture, from post-bellum illustrated weeklies and panoramas to agit-prop pamphlets and Coney Island pyrotechnic shows. Throughout, it uncovers how a foreign revolution came back to life as a domestic commodity, and why for decades another nation’s memory came to feel so much our own. This book will speak to readers looking to understand the affective, cultural, and aesthetic afterlives of revolt and revolution pre-and-post Occupy Wall Street, as well as those interested in space, gender, performance, and transatlantic print culture.
Jillian C. Rogers
- Published in print:
- 2021
- Published Online:
- February 2021
- ISBN:
- 9780190658298
- eISBN:
- 9780190658328
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190658298.001.0001
- Subject:
- Music, History, Western
Resonant Recoveries: French Music and Trauma Between the World Wars illustrates that coping with trauma was a central concern for French musicians active after World War I. The losses and violent ...
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Resonant Recoveries: French Music and Trauma Between the World Wars illustrates that coping with trauma was a central concern for French musicians active after World War I. The losses and violent warfare of World War I shaped how interwar French musicians—from those fighting in the trenches and working in military hospitals to more well-known musicians—engaged with music. Situated at the intersections of musicology, history, sound and performance studies, and psychology and trauma studies, Resonant Recoveries argues that modernists’ compositions and musical activities were sonorous locations for managing and performing trauma. Through analysis of archival materials, French medical, philosophical, and literary texts, and the music produced between the wars, this book illuminates how music emerged during World War I as an embodied technology of consolation. Resonant Recoveries demonstrates that music making came to be understood by French interwar musicians as a consolatory practice that enhanced their abilities to remember lost loved ones, gave them opportunities to perform their grief publicly and privately, allowed them to create healing bonds of friendship, and soothed them with sonic vibrations and the rhythmically regular bodily movements required in order to perform many French neoclassical compositions. In revealing the importance that music making held for interwar French musicians, this book refigures French modernist music as a therapeutic medium for creators, performers, and audiences, while also underlining the importance of addressing trauma, mourning, and people’s emotional lives in music scholarship.Less
Resonant Recoveries: French Music and Trauma Between the World Wars illustrates that coping with trauma was a central concern for French musicians active after World War I. The losses and violent warfare of World War I shaped how interwar French musicians—from those fighting in the trenches and working in military hospitals to more well-known musicians—engaged with music. Situated at the intersections of musicology, history, sound and performance studies, and psychology and trauma studies, Resonant Recoveries argues that modernists’ compositions and musical activities were sonorous locations for managing and performing trauma. Through analysis of archival materials, French medical, philosophical, and literary texts, and the music produced between the wars, this book illuminates how music emerged during World War I as an embodied technology of consolation. Resonant Recoveries demonstrates that music making came to be understood by French interwar musicians as a consolatory practice that enhanced their abilities to remember lost loved ones, gave them opportunities to perform their grief publicly and privately, allowed them to create healing bonds of friendship, and soothed them with sonic vibrations and the rhythmically regular bodily movements required in order to perform many French neoclassical compositions. In revealing the importance that music making held for interwar French musicians, this book refigures French modernist music as a therapeutic medium for creators, performers, and audiences, while also underlining the importance of addressing trauma, mourning, and people’s emotional lives in music scholarship.
Antoinette Elizabeth DeNapoli
- Published in print:
- 2014
- Published Online:
- April 2014
- ISBN:
- 9780199940011
- eISBN:
- 9780199388639
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199940011.003.0002
- Subject:
- Religion, Hinduism
Chapter 1 locates female sadhus’ practices within a performance studies-centered model of religious expressive culture and discusses the concept of “vernacular asceticism” as a lens for thinking ...
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Chapter 1 locates female sadhus’ practices within a performance studies-centered model of religious expressive culture and discusses the concept of “vernacular asceticism” as a lens for thinking about sannyās-as-lived in contemporary North India. It argues that the sadhus express a broad spectrum of meanings and interpretations for what they believe sannyâs and being a sadhu means in renunciation-as-lived. A number of scholars have noted that the varieties of sannyâs in South Asia cannot be pinned down to any single category of experience or practice; there are as many ways to live sannyâs as there are sadhus living it. Oddly enough, however, what has been overlooked is that renunciant expressive culture makes it possible for the plethora of meanings imagined as sannyâs (and sadhu) to flourish on the ground. The performativity of the sadhus’ rhetorical practices demonstrates that the idea of sannyâs is always emergent, situated in those contexts in which it is continuously conceived and enacted in everyday life. The chapter includes a discussion of the field methods used to collect and analyze data, Rajasthan’s cultural context, and the devotional fellowship (satsang) contexts in which female sadhus gather with others and sing to God.Less
Chapter 1 locates female sadhus’ practices within a performance studies-centered model of religious expressive culture and discusses the concept of “vernacular asceticism” as a lens for thinking about sannyās-as-lived in contemporary North India. It argues that the sadhus express a broad spectrum of meanings and interpretations for what they believe sannyâs and being a sadhu means in renunciation-as-lived. A number of scholars have noted that the varieties of sannyâs in South Asia cannot be pinned down to any single category of experience or practice; there are as many ways to live sannyâs as there are sadhus living it. Oddly enough, however, what has been overlooked is that renunciant expressive culture makes it possible for the plethora of meanings imagined as sannyâs (and sadhu) to flourish on the ground. The performativity of the sadhus’ rhetorical practices demonstrates that the idea of sannyâs is always emergent, situated in those contexts in which it is continuously conceived and enacted in everyday life. The chapter includes a discussion of the field methods used to collect and analyze data, Rajasthan’s cultural context, and the devotional fellowship (satsang) contexts in which female sadhus gather with others and sing to God.
Jennifer Solheim
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9781786940827
- eISBN:
- 9781786945082
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781786940827.003.0001
- Subject:
- Society and Culture, Media Studies
I introduce the call to listen, the term she has coined for the cultural phenomenon in French texts of North African and Middle East origins that portray characters and figures listening as a ...
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I introduce the call to listen, the term she has coined for the cultural phenomenon in French texts of North African and Middle East origins that portray characters and figures listening as a narrative strategy across cultural media to bring forth stories of marginalized experience. I also introduce sounding, the central methodologies in The Performance of Listening, which is situated in Francophone studies, performance studies, and to a smaller degree sound studies. An overview of the social, political, and cultural stakes of these works, which span from the 1960s through 2010, includes Tahar Ben Jelloun, Hélène Cixous, Assia Djebar, Franz Fanon, Michel Foucault, and J.M.G. LeClézio. Issues include feminism, the question and definition of Francophonie, French Republicanism (or universalism), laïcité, mixité, postcolonialism, and subalterity.Less
I introduce the call to listen, the term she has coined for the cultural phenomenon in French texts of North African and Middle East origins that portray characters and figures listening as a narrative strategy across cultural media to bring forth stories of marginalized experience. I also introduce sounding, the central methodologies in The Performance of Listening, which is situated in Francophone studies, performance studies, and to a smaller degree sound studies. An overview of the social, political, and cultural stakes of these works, which span from the 1960s through 2010, includes Tahar Ben Jelloun, Hélène Cixous, Assia Djebar, Franz Fanon, Michel Foucault, and J.M.G. LeClézio. Issues include feminism, the question and definition of Francophonie, French Republicanism (or universalism), laïcité, mixité, postcolonialism, and subalterity.
Rachel C. Lee
- Published in print:
- 2014
- Published Online:
- March 2016
- ISBN:
- 9781479817719
- eISBN:
- 9781479813742
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9781479817719.003.0006
- Subject:
- Society and Culture, Asian Studies
This chapter explores the “body art” performances of theater artist Denise Uyehara. Like Ghosh's novel The Calcutta Chromosome (1995), Uyehara's performances underscore the entanglement of ...
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This chapter explores the “body art” performances of theater artist Denise Uyehara. Like Ghosh's novel The Calcutta Chromosome (1995), Uyehara's performances underscore the entanglement of biopolitically divided populations—here the able-minded and differently abled. While Ghosh posits the caretaking of the young as preparatory training for an embodied knowledge regarding humans' hosting of and coassemblage with parasitic and commensal “alien” microorganisms, Uyehara choreographs a local, highly contingent ethical “doing” in relation to the aged and mentally impaired. In contrast to Ghosh's broad recognition of the chimeric fusions at the core of humanity, Uyehara's concerns are more traditionally (i.e., anthropocentrically) humanist. Through an examination of two of Uyehara's works, Maps of City and Body (1999) and Big Head (2003), this chapter reflects on central debates within performance studies and intersectional analyses of women of color, queers of color, and crips of color regarding the form and social obligations of memory.Less
This chapter explores the “body art” performances of theater artist Denise Uyehara. Like Ghosh's novel The Calcutta Chromosome (1995), Uyehara's performances underscore the entanglement of biopolitically divided populations—here the able-minded and differently abled. While Ghosh posits the caretaking of the young as preparatory training for an embodied knowledge regarding humans' hosting of and coassemblage with parasitic and commensal “alien” microorganisms, Uyehara choreographs a local, highly contingent ethical “doing” in relation to the aged and mentally impaired. In contrast to Ghosh's broad recognition of the chimeric fusions at the core of humanity, Uyehara's concerns are more traditionally (i.e., anthropocentrically) humanist. Through an examination of two of Uyehara's works, Maps of City and Body (1999) and Big Head (2003), this chapter reflects on central debates within performance studies and intersectional analyses of women of color, queers of color, and crips of color regarding the form and social obligations of memory.
Samuel N. Dorf
- Published in print:
- 2019
- Published Online:
- December 2018
- ISBN:
- 9780190612092
- eISBN:
- 9780190612122
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190612092.001.0001
- Subject:
- Music, Dance, History, Western
Performing Antiquity investigates collaboration between French and American scholars of Greek antiquity (archaeologists, philologists, classicists, and musicologists) and the performing artists ...
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Performing Antiquity investigates collaboration between French and American scholars of Greek antiquity (archaeologists, philologists, classicists, and musicologists) and the performing artists (dancers, composers, choreographers, and musicians) who brought their research to life at the birth of modernism. The book tells the story of performances that took place at academic conferences, the Paris Opéra, ancient amphitheaters in Delphi, and private homes. These musical and dance collaborations were built on reciprocity: the performers gained new insight into their craft while leaning new techniques or repertoire, and the scholars got to see theory become practice; that is, they had a chance to see/hear/feel what they had studied and imagined. The performers received the imprimatur of scholarship, the stamp of authenticity, and validation for their creative activities. Drawing from methods and theory from musicology, dance studies, performance studies, queer studies, archaeology, and classics, Performing Antiquity shows how new scholarly methods and technologies altered the performance and ultimately the reception of music and dance of the past. Acknowledging and critically examining the complex relationship performers and scholars had with the pasts they studied does not undermine their work. Rather, understanding their own limits, dreams, obsessions, desires, loves, and fears enriched the ways they performed the past.Less
Performing Antiquity investigates collaboration between French and American scholars of Greek antiquity (archaeologists, philologists, classicists, and musicologists) and the performing artists (dancers, composers, choreographers, and musicians) who brought their research to life at the birth of modernism. The book tells the story of performances that took place at academic conferences, the Paris Opéra, ancient amphitheaters in Delphi, and private homes. These musical and dance collaborations were built on reciprocity: the performers gained new insight into their craft while leaning new techniques or repertoire, and the scholars got to see theory become practice; that is, they had a chance to see/hear/feel what they had studied and imagined. The performers received the imprimatur of scholarship, the stamp of authenticity, and validation for their creative activities. Drawing from methods and theory from musicology, dance studies, performance studies, queer studies, archaeology, and classics, Performing Antiquity shows how new scholarly methods and technologies altered the performance and ultimately the reception of music and dance of the past. Acknowledging and critically examining the complex relationship performers and scholars had with the pasts they studied does not undermine their work. Rather, understanding their own limits, dreams, obsessions, desires, loves, and fears enriched the ways they performed the past.
