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.Read more
- Shows the relationship between past institutional histories and tradition and current scholarly and artistic practices in performance
- Shows both the opportunities and hazards of using performance as an interdisciplinary site of inquiry
- Critiques rather than perpetuates the professional underpinnings of the opposition between the scholar and the artist
- Winner of the Lilla A. Heston Award for Outstanding Scholarship in Interpretation and Performance Studies from the National Communication Association
Not yet reviewed
Be the first to review
Review was not posted due to profanity×
- Date Published: April 2004
- format: Paperback
- isbn: 9780521656054
- length: 268 pages
- dimensions: 217 x 139 x 18 mm
- weight: 0.38kg
- availability: Available
Table of Contents
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.
Sorry, this resource is locked
Are you sure you want to delete your account?
This cannot be undone.
Thank you for your feedback which will help us improve our service.
If you requested a response, we will make sure to get back to you shortly.×