Relevant bibliographies by topics / Performatic Staging

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Performatic Staging'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "Performatic Staging"

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Santoro, Patrick. "Staging Sexual Assault." Departures in Critical Qualitative Research 10, no. 3 (2021): 82–116. http://dx.doi.org/10.1525/dcqr.2021.10.3.82.

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This essay examines a staged production of Lewis Carroll’s Alice in Wonderland reimagined through the lens of childhood sexual assault. Primarily, it serves as a pedagogical case study of theoretical and practical approaches for conceptualizing, staging, and reflecting on performance as activism. Incorporating the director’s/author’s own voice, alongside that of the cast, it creates the possibility for understanding sexual assault and theatrical creation with greater nuance and urgency, while also illustrating the work of directing in the same light as critical performative pedagogy.
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Hudek, Antony. "Staging Dissonance: Artist Placement Group’s Performative (Non-)Exhibitions." Journal of Curatorial Studies 2, no. 3 (2013): 302–28. http://dx.doi.org/10.1386/jcs.2.3.302_1.

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Casey, Valerie. "Staging Meaning: Performance in the Modern Museum." TDR/The Drama Review 49, no. 3 (2005): 78–95. http://dx.doi.org/10.1162/1054204054742507.

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This year's Student Essay Contest winner theorizes the disruptive role of performance in museums, and considers museums as elaborate stagings with experiential, relational, and performative dimensions.
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Brown, Ruth Nicole, Durell Maurice Callier, Porshe R. Garner, Dominique C. Hill, Porsha Olayiwola, and Jessica L. Robinson. "Staging Black Girl Utopias." Departures in Critical Qualitative Research 4, no. 1 (2015): 137–49. http://dx.doi.org/10.1525/dcqr.2015.4.1.137.

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This performative text places in conversation the work of Saving Our Lives Hear Our Truths (SOLHOT), a practice of black girlhood celebration, with Robin M. Boylorn's Sweetwater. Both SOLHOT's archive of original poetry, movement, and music and Boylorn's Sweetwater document the power and potential of listening to and being transformed by black women and girls' truths. Building on the legacy of black feminist writing traditions, this piece celebrates brilliant women and girls who testify to their lives, the labor of writing and creating (sometimes alone and sometimes collectively), and ourselve
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Leistra-Jones, Karen. "Staging Authenticity." Journal of the American Musicological Society 66, no. 2 (2013): 397–436. http://dx.doi.org/10.1525/jams.2013.66.2.397.

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AbstractJoseph Joachim, Johannes Brahms, and other members of their circle were important figures in the ascendancy of the Werktreue paradigm of performance in the second half of the nineteenth century. This article explores the ways in which their approach to Werktreue intersected with a broader ideal of “authentic” subjectivity. An authentic performer, according to this ideal, would be true to himself or herself, absorbed in the music, oblivious of the audience, and restrained in gestures and overall expressivity. I examine how these musicians performed authenticity in different types of sel
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Callens, Johan. "Staging the Televised (Nation)." Theatre Research International 28, no. 1 (2003): 61–78. http://dx.doi.org/10.1017/s0307883303000154.

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The performative uses which Mark Ravenhill's Faust (Faust Is Dead) (1997) and Anna Deavere Smith's Twilight: Los Angeles, 1992 (1993), no matter how different, have made of the televised 1992 Los Angeles riots, underwrite Hal Foster's thesis that the 1990s have been confronted with a ‘return of the real’ in art and theory, through the insistence upon a renewed grounding in actual bodies and social sites, after the 1970s paradigm of art-as-text (Foucault) and the 1980s' art-as-simulacrum (Baudrillard). As such, Ravenhill's play and Smith's docudrama permit a commentary on the terrorist attacks
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Kiran Kim. "Staging of the collective memory and mechanism of performative process." Drama Research ll, no. 30 (2009): 7–34. http://dx.doi.org/10.15716/dr.2009..30.7.

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Baert, Patrick, and Marcus Morgan. "A performative framework for the study of intellectuals." European Journal of Social Theory 21, no. 3 (2017): 322–39. http://dx.doi.org/10.1177/1368431017690737.

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This article introduces a new, performative framework for analysing intellectuals and intellectual interventions. It elaborates on the strengths of this theoretical perspective vis-à-vis rival approaches and develops this frame of reference by exploring key constituent concepts, including positioning, script and staging. The article then exemplifies the framework and demonstrates its applicability by exploring a public intellectual performance by Jean-Paul Sartre. To conclude, the article reflects on recent shifts in public intellectual performances, especially changes that are relatively dura
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Fulkerson, Laurel. "Staging a Mutiny: Competitive Roleplaying on the Rhine (Annals 1.31-51)." Ramus 35, no. 2 (2006): 169–92. http://dx.doi.org/10.1017/s0048671x00000862.

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Discussions of Tacitus' use of theatricality or dramatic episodes are nothing new, but these studies have primarily focused on the Neronian books, where they are seen as particularly appropriate. The notions of performativity and pageantry, however, pervade all of Tacitus' historical writing, even in places where they have not previously been sought. I focus in this article on how Germanicus' conduct while quelling the Rhine mutiny of 14 CE dangerously assimilates him to the German soldiers insofar as both treat the uprising as an opportunity to display their most flamboyant behaviours in an a
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SHIMAZU, NAOKO. "Diplomacy As Theatre: Staging the Bandung Conference of 1955." Modern Asian Studies 48, no. 1 (2013): 225–52. http://dx.doi.org/10.1017/s0026749x13000371.

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AbstractAs a significant ‘moment’ in twentieth-century international diplomacy, the rise of post-colonial Afro-Asia at the Bandung Conference of 1955 is replete with symbolic meanings. This paper proposes a conceptual approach to understanding the symbolic dimension of international diplomacy, and does so by ruminating on the newly unearthed Indonesian material on the Bandung Conference. To this end, ‘diplomacy as theatre’ is introduced as an interpretive framework to re-cast the conference as a theatrical performance, in which actors performed on the stage to audiences. Focusing on the city o
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Dissertations / Theses on the topic "Performatic Staging"

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Nascimento, Frederico do. "Grupo Totem: a infec??o pela performance e a encena??o perform?tica." Universidade Federal do Rio Grande do Norte, 2012. http://repositorio.ufrn.br:8080/jspui/handle/123456789/12448.

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Made available in DSpace on 2014-12-17T14:00:16Z (GMT). No. of bitstreams: 1 FredericoN_DISSERT.pdf: 2022028 bytes, checksum: 1bab8c5920acff310991e54ecc05714c (MD5) Previous issue date: 2012-05-26<br>The issue of creating productions of hybrid matrices has demanded, for more than three decades, the attention of several theater theorists (COHEN: 1995; LEHMANN: 2007). The study of philosophers (DELEUZE & GUATTARI: 1995) has contributed for new concepts of the scene. These artistic practices, depending on the context, have been generating, more and more, new ways of staging. I will discuss the
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Russell, John. "Staging and the event : performative strategies in contemporary art." Thesis, Kingston University, 2007. http://eprints.kingston.ac.uk/20222/.

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My research proposes the idea of staging as the various ways in which artworks are presented and/or enacted in relation to both institutional and non-institutional contexts. This presentation (or staging) of the artwork is seen as implicit to its production and is therefore proposed as a model of doing (as art) and not merely an adjunct to the doing of art. It is however clear that the idea of art doing or acting is problematic. Artworks are confined (to use Robert Smithson's terminology) by their prefigured relationship to the structures of the institution, even in their critical function. My
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Norton, Daxton L. "The performative/theatrical divide : staging aberrant masculinities in film, literature, and performance art /." view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3190535.

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Thesis (Ph. D.)--University of Oregon, 2005.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 221-233). Also available for download via the World Wide Web; free to University of Oregon users.
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Books on the topic "Performatic Staging"

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Widenheim, Cecilia. Voice Over: On Staging and Performative Strategies in Contemporary Art. MIT Press, 2020.

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Jeschke, Claudia. Lola Montez and Spanish Dance in the 19th Century. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036767.003.0003.

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This chapter narrates the career of Lola Montez (c. 1820–1861), a performer who trafficked in staging the Spanish dancer as a figure of otherness on the stages of nineteenth-century Europe. It addresses both performative qualities and written discourse, in particular Montez's own writings, as strategies for self-fashioning. Here, discourse itself gains a performative potential, pronouncing into being a successful persona that relied on a variety of marketing tactics. The chapter casts new light on dance history by exploring how a dilettante female performer used constructions of gender and alt
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Decker, Gregory J., and Matthew R. Shaftel, eds. Singing in Signs. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190620622.001.0001.

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Singing in Signs is a collection of essays from prominent opera scholars that explores the rich interplay of symbols in the operatic genre, while simultaneously providing perspective on the state of opera study. Each author, whether explicitly or implicitly, uses the powerful tools of semiotics (the study of signs) to construct interpretations and discover relationships among music, lyrics, and drama. Authors in this collection use a combination of traditional and emerging methodologies to engage composer-constructed and work-specific music-semiotic systems, broader sociocultural music codes,
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Book chapters on the topic "Performatic Staging"

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Parry-Jones, Clare. "Performative Ritual of Loss—Marking the Intangible." In Staging Loss. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97970-0_13.

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Bohn, Ralf. "Schreiben mit Licht." In Bewegungsszenarien der Moderne. Universitätsverlag WINTER, 2021. http://dx.doi.org/10.33675/2021-82537264-6.

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In the 19th century, the stillness of movement during a photographic exposure required a staging based on academic traditions. Staging is the »spatialization« of a present absence – comparable to »writing« in the sense of Derrida. With the increasing mobility of camera techniques from the 20th century onwards, the focus is no longer on the reproduction of a moment, but instead on its performative invention.With the digital photography of the 21st century, a transformation from theatrical to functional staging takes place. The history of the writing scene of photography illustrates the interplay between concealment through technology and re-aestheticization, which with increasing oscillation turns into motor dizziness.
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Peschel, Lisa, and Alan Sikes. "Pedagogy, performativity and ‘never again’: staging plays from the Terezín Ghetto." In Performative Holocaust Commemoration in the 21st Century. Routledge, 2021. http://dx.doi.org/10.4324/9781003149521-7.

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Crutchfield, John, and Michaela Sambanis. "7. Staging Otherness: Three New Empirical Studies in Dramapädagogik with Relevance for Intercultural Learning in the Foreign Language Classroom." In Going Performative in Intercultural Education, edited by John Crutchfield and Manfred Schewe. Multilingual Matters, 2017. http://dx.doi.org/10.21832/9781783098552-009.

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DETCHEVA, VIOLETA, and VESSELA S. WARNER. "Fusing Performative Boundaries:." In Staging Postcommunism. University of Iowa Press, 2020. http://dx.doi.org/10.2307/j.ctvtxw2wz.12.

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"Staging Culture – Staging Nature: Polynesian Performance as Nature and Nature as Performance in Hawaii." In Performative Body Spaces. Brill | Rodopi, 2010. http://dx.doi.org/10.1163/9789042031944_010.

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Ferreri, Mara. "Staging temporary spaces." In The Permanence of Temporary Urbanism. Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789462984912_ch04.

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This chapter analyses the performative urban experiences produced by temporary projects and their claim to publicness and openness to local communities. Through a critical discussion of the promises of ‘vibrancy’ and community engagement, it examines the importance of staging in temporary urban spaces, its co-optation and its everyday, contested performative encounters. The chapter draws extensively on participant observations of temporary projects in the Elephant and Castle shopping centre during the last decade before its final closure. The frictions between staged and unexpected urban encounters challenge the celebration of ‘use value’ as inherently beyond commodification. It reveals the need to attend carefully to local power entanglements and to the potential role of temporary uses in solidarity movements against demolition and displacement.
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"Themed Environments – Performative Spaces: Performing Visitors in North American Living History Museums." In Staging the Past. transcript-Verlag, 2010. http://dx.doi.org/10.14361/transcript.9783839414811.157.

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"Performative desires: Sereni’s re-staging of Dante and Petrarch." In Aspects of the Performative in Medieval Culture. De Gruyter, 2010. http://dx.doi.org/10.1515/9783110222470.2.165.

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"Staging of the Thinking Space: From Immersion to Performative Presence." In Paradoxes of Interactivity. transcript-Verlag, 2008. http://dx.doi.org/10.14361/9783839408421-013.

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