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Journal articles on the topic 'Performatic Staging'

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

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1

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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2

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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3

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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7

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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8

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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9

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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10

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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11

Bettinson, Gary. "Staging and Performance in Sidney Lumet’s Deathtrap." Projections 15, no. 2 (2021): 30–55. http://dx.doi.org/10.3167/proj.2021.150202.

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This article provides a stylistic examination of Sidney Lumet’s thriller Deathtrap (1982), analyzing how its strategies of staging and performance generate narrational effects of suspense and surprise. It argues that Lumet anchors these performative strategies to a broad authorial program grounded in expressive subtlety; as such, Lumet’s film reminds us of a waning tradition of US filmmaking in which stylistic ingenuity resides at the denotative and expressive (rather than the decorative or parametric) levels of stylistic discourse. The article treats Lumet’s stylistic choices as creative solu
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MacDonald, Shauna M. "Staging and StoryingBlood from a Stone: A Performative Reflection in Three Acts." Canadian Theatre Review 151 (July 2012): 37–43. http://dx.doi.org/10.3138/ctr.151.37.

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13

Huerta, Melissa. "Writing and Staging Our Latinx Stories: The Utopian Performative in Teatro Luna." Modern Drama 64, no. 1 (2021): 88–108. http://dx.doi.org/10.3138/md.64.1.0981.

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Teatro Luna is one of the longest-running all-Latina and women of colour ensembles. This article argues, through as yet unpublished plays and rehearsal documents, that Teatro Luna’s creative processes and performances generate hopeful moments of what Jill Dolan calls the “utopian performative.” Building on the work of Dolan and of José Esteban Muñoz, this case study examines how a sampling of Teatro Luna’s early and current work creates possibilities for social change, representation, and collective consciousness through the company’s Latina and women of colour-centred creative practices and d
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14

Felton-Dansky, Miriam. "Clamorous Voices: Seven Jewish Children and Its Proliferating Publics." TDR/The Drama Review 55, no. 3 (2011): 156–64. http://dx.doi.org/10.1162/dram_a_00106.

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How can a play go viral? Following its 2009 premiere at London's Royal Court Theatre, Caryl Churchill's Seven Jewish Children—a politically provocative mini-drama staging the contested history of Israeli-Palestinian relations—did just that, spawning counter-plays and performative revisions that proliferated worldwide, in physical theatres and in the internet's intangible arena.
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15

Chronis, Athinodoros. "The Staging of Contested Servicescapes." Journal of Service Research 22, no. 4 (2019): 456–73. http://dx.doi.org/10.1177/1094670519842336.

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Identifying the abundance of servicescapes whose meaning and identity can be contested by customers, and recognizing the necessity for managing these environments, this study investigates and provides theoretical understanding of the way in which service providers stage contested servicescapes. To this end, ethnographic research was conducted at the Gettysburg National Military Park as an exemplary empirical context of a servicescape that, more than a century and a half after the battle transpired, remains at the center of intense controversies. Analytical attention was focused on the performa
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16

Schmidt, Ulrik. "Datamasser og sansemiljøer - Iscenesættelsen af big data mellem information, omslutning og overvågning." MedieKultur: Journal of media and communication research 31, no. 59 (2016): 26. http://dx.doi.org/10.7146/mediekultur.v31i59.20004.

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”Data Masses and Sensory Environments” explores a major trend in current digital culture to visualise massive data sets in the form of abstract, dynamic environments. This ‘performative’ staging of big data manifests what we could think of as big data aesthetics proper because it gives the ‘big’ and ‘massive’ properties of big data a direct and perceptible visual expression. Drawing on several recent examples of big data visualisation, the article examines the different manifestations and aesthetic potential of such performative big data aesthetics. It is concluded that the performative ‘massi
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17

Männig, Maria. "The Tableau Vivant and Social Media Culture." Acta Universitatis Sapientiae, Film and Media Studies 19, no. 1 (2021): 132–55. http://dx.doi.org/10.2478/ausfm-2021-0009.

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Abstract The article aims to analyse the tableau vivant in social media culture by emphasizing its intermedial relation to technical visual media, particularly digital photography and film. By focusing on the living picture’s specific mimetic qualities, the study traces back the tableau vivant’s history in a media archaeological perspective primarily regarding photography. It explores the current revival of the tableau vivant within social media. The article examines living pictures and the aspect of self-staging, relevant to contemporary digital culture. The tableau vivant develops between tw
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18

Schewe, Manfred. "Taking Stock and Looking Ahead: Drama Pedagogy as a Gateway to a Performative Teaching and Learning Culture." Scenario: A Journal of Performative Teaching, Learning, Research VII, no. 1 (2013): 5–23. http://dx.doi.org/10.33178/scenario.7.1.2.

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This overview article initially focuses on early connections between dramatic art, teaching, learning, and living, followed by a brief account of how Great Britain took on a pioneering role with regard to the establishment of drama as a school subject, method and educational sub-discipline. It then focuses on how drama pedagogy in foreign language teaching and learning has developed as a specific field of research and practice since the 1970s, acknowledging the important contributions to the field made by scholars and practitioners from outside Great Britain. An overview of current practice in
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19

Delbridge, Matthew, and Riku Roihankorpi. "Intermedial Ontologies: Strategies of Preparedness, Research and Design in Real Time Performance Capture." Nordic Theatre Studies 26, no. 2 (2014): 46. http://dx.doi.org/10.7146/nts.v26i2.24309.

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The paper introduces and inspects core elements relative to the ‘live’ in performances that utilise real time Motion Capture (MoCap) systems and cognate/reactive virtual environments by drawing on interdisciplinary research conducted by Matthew Delbridge (University of Tasmania), and the collaborative live MoCap workshops carried out in projects DREX and VIMMA (2009-12 and 2013-14, University of Tampere). It also discusses strategies to revise manners of direction and performing, practical work processes, questions of production design and educational aspects peculiar to technological staging.
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20

MacDonald, Shauna M. "Staging and Storying Blood from a Stone: A Performative Reflection in Three Acts." Canadian Theatre Review 151, no. 1 (2012): 37–43. http://dx.doi.org/10.1353/ctr.2012.0060.

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21

Puwar, Nirmal. "Puzzlement of a déjà vu: Illuminaries of the global South." Sociological Review 68, no. 3 (2019): 540–56. http://dx.doi.org/10.1177/0038026119890254.

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The act of decentring established Euro-North American sites and flows of knowledge as longstanding geopolitical anchors of epistemological authority presents déjà vu scenarios, involved in centre-staging processes. The very position of being a messenger from the ‘North’ of knowledge and theory from the ‘South’ can reproduce the same patterns the undertaking seeks to unsettle. The context in which academic performativity is shaped is integral to both the making and taking of space in intellectual circuits of production and circulation. This article considers how centre-staging in academia perfo
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22

Houston, Donna, and Laura Pulido. "The Work of Performativity: Staging Social Justice at the University of Southern California." Environment and Planning D: Society and Space 20, no. 4 (2002): 401–24. http://dx.doi.org/10.1068/d344.

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In this paper we offer an alternative reading of the role of performativity and everyday forms of resistance in current geographic literature. We make a case for thinking about performativity as a form of embodied dialectical praxis via a discussion of the ways in which performativity has been recently understood in geography. Turning to the tradition of Marxist revolutionary theater, we argue for the continued importance of thinking about the power of performativity as a socially transformative, imaginative, and collective political engagement that works simultaneously as a space of social cr
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23

Michalak, Hubert. "Transmisje pamięci." Pamiętnik Teatralny 68, no. 3-4 (2019): 213–33. http://dx.doi.org/10.36744/pt.14.

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The paper is dedicated to Powiedz, że jestem… (“Tell me that I am…”), one of the last productions directed by Jan Dorman (The State Drama Theatre in Wałbrzych, prem. June 16, 1985). It addresses the issue of memory, linking it to the theme of hiding Jews during World War II. Both these motifs were firmly inscribed in the production, and they referred to a fresh and almost unrecognized issue on Polish stages at the time of the premiere. By addressing the issue of various media of memory and several models of its stage representation, the text attempts to reconstruct both the director’s concept
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Manga, Christian. "L'autocitation dans la théorie scandinave de la polyphonie linguistique (ScaPoLine)." Bergen Language and Linguistics Studies 10, no. 1 (2019): 8. http://dx.doi.org/10.15845/bells.v10i1.1428.

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The present work focuses on the discursive phenomenon of self-quotation, that we define with Rosier (2008, 118) as « the staging of one's own speech or opinion in the service of a specific argument on the mode of recall (I told you that) or performative mode (I tell you that).» Our aim is to study the particular functioning of self-quotation within the Scandinavian theory of linguistic polyphony (ScaPoLine). Depending on whether the self-quotation is in the mode of an earlier saying or a present one, we will postulate a typology of speakers: homogeneous speaker (self-quotation in the present)
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25

Vollmert, Christina. "Staging Technology: The International Electrotechnical Exhibition in Frankfurt am Main, 1891." Nineteenth Century Theatre and Film 45, no. 2 (2018): 212–31. http://dx.doi.org/10.1177/1748372719828182.

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The 1891 International Electrotechnical Exhibition in Frankfurt am Main displayed a wide range of technological inventions and advancements from around the world. Inspired by the big world fairs, organisers staged spectacular arrangements of exhibits and technological inventions combined with theatrical entertainment. This article will take as its focus a specific performative aspect of a water spectacle, called ‘Tatzelwurm’ – a fantastical environment inspired by the poem ‘ Zum feurigen Tatzelwurm’ by German novelist Joseph von Scheffel, which was dedicated to a Bavarian tavern on top of a wa
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SCHMID, CAITLIN. "Ice(d) Music/Cello/Bodies: Re-staging Charlotte Moorman's Ice Music (1972–2018)." Twentieth-Century Music 17, no. 2 (2020): 213–45. http://dx.doi.org/10.1017/s1478572220000067.

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Abstract1972: Charlotte Moorman walked onto a concert hall stage – nude – and played a cello made of ice until it melted. 2001: Joan Jeanrenaud re-staged Moorman's piece wearing a wetsuit and brandishing a pitchfork. 2017: Seth Parker Woods performed a ‘protest’ version on an obsidian-coloured ice instrument. In this article, I argue that Ice(d) Music/Cello/Bodies has become a musico-political palimpsest, a measure of the way Moorman and her art have been recuperated through performative historiography. Through a reconstruction of the historical circumstances under which Moorman, Jeanrenaud, a
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Frantzen, Allen J. "DRAMA AND DIALOGUE IN OLD ENGLISH POETRY: THE SCENE OF CYNEWULF'SJULIANA." Theatre Survey 48, no. 1 (2007): 99–119. http://dx.doi.org/10.1017/s0040557407000385.

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InThe Semiotics of Performance, Marco de Marinis notes that the field of performance studies has greatly expanded the traditional categories of drama and theatre. “It is obvious,” he writes, “that we are dealing with a field that is far broader and more varied than the category consisting exclusively oftraditional stagings of dramatic texts, to which some scholars still restrict the class of theatrical performances.” A few scholars of early theatre history have embraced expanded categories of performance. Jody Enders's “medieval theater of cruelty,” for example, rests on a concept of “atheoryo
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Blackshaw, Tony, and Willem Coetzee. "Re-Imagining ‘Event Management’: on Governmentality and its ‘Afterlife’." International Journal of the Sociology of Leisure 3, no. 4 (2020): 369–87. http://dx.doi.org/10.1007/s41978-020-00066-z.

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Abstract In an important collection of publications Chris Rojek (2013a, 2013b and 2014) raises some apposite questions pertaining to ‘Event Management’ as a source of ideological power that surrounds both the staging of Mega Events and ‘Events’ as a subject field. The present article begins by elaborating on the key themes emerging from Rojek’s unconventional understanding of ‘Event Management’ which provides the backdrop against which it advances its own arguments. The rest of the discussion develops a novel framework of analysis which suggests that we should substitute ‘governmentality’ for
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Rocconi, Eleonora. "Before the Première: Recording the Performance of Ancient Greek Drama." Dramaturgias, no. 5 (October 27, 2017): 10–21. http://dx.doi.org/10.26512/dramaturgias.v0i5.8103.

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Ancient Greek theatre, a multimedia spectacle (originally conceived for a unique performance) which involved words, music, gestures, and dance, has always been a challenge for scholars investigating its original performance. This paper explores the possibilities of the performative elements of the plays to be recorded during their theatrical staging, that is, before their première. More in detail, it examines the probability that — given the rhythmic and melodic nature of ancient Greek language and the descriptive and/or perlocutionary character of the scenic information within the texts — th
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Singh, Pawan. "Staging sexuality through the familial, the performative and the activist: Bollywood’s queer repertoire in the twenty-first century." South Asian Popular Culture 13, no. 2 (2015): 125–39. http://dx.doi.org/10.1080/14746689.2015.1087108.

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31

Parani, Maria G. "Mediating presence: curtains in Middle and Late Byzantine imperial ceremonial and portraiture." Byzantine and Modern Greek Studies 42, no. 1 (2018): 1–25. http://dx.doi.org/10.1017/byz.2017.33.

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Curtains constituted a standard component of the scenography of imperial ceremonies during the Middle and Late Byzantine period. This paper explores how curtains were used to control and ritualise sensory and perceptual access to the sacred person of the emperor and to manipulate emotive response to ritual performances. It also enquires into the way in which curtains, both as material objects and as symbols, were employed by those staging imperial ceremonies in order to articulate and communicate messages regarding the nature of the emperor's authority and his special status vis-à-vis his subj
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Muneroni, Stefano. "Jesuit History, Theatre, and Spirituality." Religion and the Arts 23, no. 3 (2019): 273–92. http://dx.doi.org/10.1163/15685292-02303004.

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Abstract The 2014 staging and publication of Jonathan Moore’s play Inigo offers a unique commentary on the relationship between acting and spirituality within the Society of Jesus, the official name of the Jesuit Order. Through a close analysis of Moore’s play, this article contends that Jesuit spirituality draws on performative skills to inspire exemplary behavior and foster an embodied and long-lasting response to devotional narratives. In probing post-secular readings of hagiographical drama, the author considers the reasons for the ongoing fascination exerted by saints as stage characters
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Shuman, Amy, and Wendy S. Hesford. "Getting Out: Political asylum, sexual minorities, and privileged visibility." Sexualities 17, no. 8 (2014): 1016–34. http://dx.doi.org/10.1177/1363460714557600.

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As part of an emerging field of films documenting the obstacles faced by sexual minorities fleeing persecution and seeking political asylum, the film Getting Out documents both the persecution of sexual minorities in Uganda and the obstacles individuals face in their attempts to get political asylum in South Africa. Using the film as a springboard, we assess the larger issues of recognition, visibility, hypervisibility, and performativity in encounters between sexual minorities, their advocates, and political asylum officials. The rhetorical power of Getting Out lies in its performative stagin
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Sticchi, Francesco. "”Let Man Remain Dead:” The Posthuman Ecology of Tale of Tales." Acta Universitatis Sapientiae, Film and Media Studies 15, no. 1 (2018): 53–68. http://dx.doi.org/10.1515/ausfm-2018-0003.

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Abstract In this essay I analyse Matteo Garrone’s Tale of Tales (2015) within the perspective of embodied cognition. I consider film experience as an affective-conceptual phenomenon based on the viewer’s embodiment of the visual structures. Baruch Spinoza stands at the foundation of my analytical approach since his thought was based on the absolute parallelism between the body and the mind. This paradigm redefines anthropocentrism and rejects dualism; however, the criticism of the rationalist ideal is also one of the main characteristics of the film Tale of Tales: by staging baroque and excess
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Chatzidakis, Andreas, Pauline Maclaran, and Rohit Varman. "The Regeneration of Consumer Movement Solidarity." Journal of Consumer Research 48, no. 2 (2021): 289–308. http://dx.doi.org/10.1093/jcr/ucab007.

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Abstract Consumer research has focused on the various resources and tactics that help movements achieve a range of institutional and marketplace changes. Yet, little attention has been paid to the persistence of movement solidarity, in particular its regeneration, despite a range of threats to it. Our research unpacks mechanisms that help consumer movement solidarity to overcome threats. Drawing on a 6-year ethnographic study of consumer movements in Exarcheia, a neighborhood in central Athens, Greece, we find that consumer movement solidarity persists despite a cataclysmic economic crisis tha
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KALU, JOY KRISTIN. "Experiencing Expectation: Perceiving the Future in Performance." Theatre Research International 34, no. 2 (2009): 166–72. http://dx.doi.org/10.1017/s0307883309004519.

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This article examines the realization of the future in performance through aesthetic experience. Following the historian Reinhardt Koselleck, who introduces the category of ‘experience’ as the present past, and ‘expectation’ as the present future, in order to formulate a theory of possible histories, I examine the interconnection of different time layers and the potentiality of a performance. I argue that every performance constitutes a space of possibility, defined by a permeation of traces of the past and the future, emergent phenomena characteristic of performance, and a dimension of future
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Soule, Lesley Wade. "Tumbling Tricks: Presentational Structure and ‘The Taming of the Shrew’." New Theatre Quarterly 20, no. 2 (2004): 164–79. http://dx.doi.org/10.1017/s0266464x04000065.

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Much interest has recently been shown in the contributions of the actor in the performance of Tudor comedy. Lesley Wade Soule's subject is the larger performative framework of such contributions. Focusing on the main action of The Taming of the Shrew, she finds revealing examples of the characteristic presentational structures found in Tudor comedy, including direct audience address, mimesis as a pretext for presentation, a ritual/project structure, the use of stage personae, and a concluding ceremony of celebration. Her essay describes the nature of these structural elements, and offers examp
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Kellermann, Ingrid. "Can Happiness be Created in Rituals?" Paragrana 22, no. 1 (2013): 28–48. http://dx.doi.org/10.1524/para.2013.0004.

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Abstract This article refers to an ethnographical study within the framework of a cross-cultural research project in Germany and Japan. It focuses on the ritual staging and performing of family happiness within two countries: Christmas in Germany and oshogatsu, the turn of the year, in Japan. Happiness is hereby conceived as a particular form of well-being that is (intended) to be evoked during the yearly reunion of the family. Through ritual practice, the family members (re)confirm their family bonds and create their specific idea of family happiness. In the German family outlined below, Chri
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Pugsley, Bronwen. "Ethical Madness? Khady Sylla's Documentary Practice in Une Fenêtre ouverte." Nottingham French Studies 51, no. 2 (2012): 204–19. http://dx.doi.org/10.3366/nfs.2012.0020.

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The Senegalese artist Khady Sylla, most celebrated for her writing, is a highly accomplished filmmaker whose innovative and challenging autobiographical documentary on mental health, Une Fenêtre ouverte (2005), has been the subject of very little academic interest. This paper will read Une Fenêtre ouverte as a poetic, performative, and reflexive autobiographical documentary, focusing in particular on the ethical implications and formal innovations of Khady Sylla's documentary practice. My reading of this film will therefore be primarily informed by the points of tension and ambiguity in the re
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Vaneyan, S. S. "The Apocalypse of John: the architectural symbolism of visual exegesis." Russian Journal of Church History 2, no. 1 (2021): 53–70. http://dx.doi.org/10.15829/2686-973x-2021-1-51.

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A hermeneutic literary criticism of the last text of the New Testament canon can be complemented by an architectural criticism of metaphorical and rhetorical structures and plots, presented as an ultimate resolution to fundamental problems, posed both by the kerigma and by the Hellinised religious experience of the Old Testament (apocalyptic and epistolary genres). The text of the Revelation has staging structures that imply its performative reading, and suggested radical eschatological ways of resolving conflicts allow for equally radical exegetic methods, with a feminist orientation, for exa
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Galery, Maria Clara Versiani. "Hijacked by History." Aletria: Revista de Estudos de Literatura 30, no. 2 (2020): 59–78. http://dx.doi.org/10.35699/2317-2096.2020.21947.

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This article considers Shakespeare’s The Merchant of Venice as a work singularly transformed by the events of the Holocaust, in such a way that stagings of the play are often turned into pretexts for remembrance. It discusses the play as an archive of trauma, and reflects on whether it may provide testimony for the atrocities committed during the war. To this end, the article provides an inquiry into different perspectives of trauma and its representation, relying on Giorgio Agamben’s explorations of the aporia of bearing testimony, and on Shoshana Felman’s notion of testimony as a performativ
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Galery, Maria Clara Versiani. "Hijacked by History." Aletria: Revista de Estudos de Literatura 30, no. 2 (2020): 59–78. http://dx.doi.org/10.35699/2317-2096.2020.21947.

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This article considers Shakespeare’s The Merchant of Venice as a work singularly transformed by the events of the Holocaust, in such a way that stagings of the play are often turned into pretexts for remembrance. It discusses the play as an archive of trauma, and reflects on whether it may provide testimony for the atrocities committed during the war. To this end, the article provides an inquiry into different perspectives of trauma and its representation, relying on Giorgio Agamben’s explorations of the aporia of bearing testimony, and on Shoshana Felman’s notion of testimony as a performativ
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Leushuis, Reinier. "Speaking the Gospel." Erasmus Studies 36, no. 2 (2016): 163–85. http://dx.doi.org/10.1163/18749275-03602007.

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In his Paraphrases on the synoptic gospels, Erasmus stages the voice of the evangelist speaking in the first-person singular to address the reader in the second-person singular. Such a marked interlocutorial setting is absent in Scripture, with the exception of Luke’s brief address to a certain Theophilus. More than a strategy to forestall criticisms directed at the author of the paraphrase, this direct engagement between biblical author and reader reveals a deeper concern for the transfer of gospel faith and gospel philosophy to the minds of his contemporaries. This essay examines the ways in
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S. H. Favéro, Paolo, and Christopher Pinney. "Backdrops: Conversation with Chris Pinney." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 30–36. http://dx.doi.org/10.47659/m5.030.int.

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The conversation between the two researches revolves around the central question of backdrop, its meaning, position inside the studio practices. It delves into the performative aspect of backdrop photography putting it in proximity with theatre and cinema, question its nature as a prop in the process of staging an image. The question seem to be how can photography as a general practice can be understood and its theoretical notions enriched through research into rich backdrop practices (in case of Pinney and Fevero mostly in India and surrounding region) and how can we explain those practice vi
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Andersson Cederholm, Erika, and Patrik Hall. "Performing ambiguous policy: How innovation events simultaneously perform change and collaborative order." Sociological Review 68, no. 6 (2019): 1403–19. http://dx.doi.org/10.1177/0038026119895219.

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The aim of this article is to analyse how innovation policy is staged and legitimised through the dramatised social process of an event. The context is taken from an annual event, Skåne Innovation Week, which is arranged by the regional innovation system in Skåne, Sweden. Innovation systems often organise similar events internationally, which appear to play a key role in performing inter-organisational collaboration between actors from the public sector, industry and research, as well as manifesting belief in the globalised imaginaries of innovation systems. Through the analytical lens of the
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Meerzon, Yana. "Towards a Poetics of Affect: Staging Sound in Wajdi Mouawad's Theatre of Compassion 1." Recherches sémiotiques 36, no. 1-2 (2018): 199–221. http://dx.doi.org/10.7202/1051185ar.

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Erin Hurley and Sara Warner in their insightful study “Affect/Performance/Politics” (2012) remind us that the humanities and social sciences today experience a new sweep of theoretical inquiry, focusing on studying affect or thrill experience as a leading mechanism of our cognition and communication, as well as the making and reception of art works. Today, “the affective turn signals [our] renewed interest in embodiment and sensorial experience” (2012 : 99), allowing scholars to examine a theatrical performance as a venue to reinforce the subjectivity of the artist and that of the receiver. A
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Giroux, Dalie. "L'espace, le temps et l'émancipation. Essai sur la parole." Canadian Journal of Political Science 41, no. 3 (2008): 549–67. http://dx.doi.org/10.1017/s0008423908080736.

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Résumé. La réflexion offerte dans cet essai s'inscrit dans une entreprise d'approfondissement de la compréhension générale que nous avons de l'activité politique (parler, écrire, revendiquer, mettre en scène), et particulièrement de la relation que cette activité entretient avec l'idée de l'émancipation. Plus précisément, il s'agit de prendre pour objet d'exploration théorique le fait de parole, défini en termes d'articulation performative des espaces-temps humains, et d'en faire le paradigme de toute action politique. L'analyse de ce paradigme, au terme, permettra de pointer vers une matière
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Wilmer, Stephen. "After Dada: Fluxus as a Nomadic Art Movement." New Theatre Quarterly 33, no. 1 (2017): 59–64. http://dx.doi.org/10.1017/s0266464x16000634.

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In this article Stephen Wilmer applies Deleuze and Guattari's concept of nomadology to the Fluxus art movement that spread across the world, breaking down barriers between art and life, privileging concrete and conceptual art, and staging unusual events. He traces Rosi Braidotti's development of Deleuze and Guattari's concept into her notion of the nomadic subject in which she favours factors such as geographic movement, transnational identities, common space (in accord with the Deleuzian differentiation between the divisible earth or private property, and nomadic space which belongs to everyo
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Sinnerbrink, Robert. "Re-enactment and Traumatic Memory: Cinematic Ethics in The Act of Killing and S21: The Khmer Rouge Killing Machine." Emotions: History, Culture, Society 5, no. 1 (2021): 124–42. http://dx.doi.org/10.1163/2208522x-02010117.

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Abstract The Act of Killing (Oppenheimer, 2012) and its companion piece, The Look of Silence (2014), are powerful works of cinematic ethics. The former is a ‘perpetrator documentary’ that invites killers to make movie re-enactments of their crimes, the latter a case of ‘ethical witnessing’ in which a victim’s descendant questions his brother’s killer. In what follows, I explore The Act of Killing’s use of stylised re-enactments, using various movie genres as distancing and mediating devices, which enable the perpetrators to approach and expose their traumatic acts of violence. I contrast this
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Kaufmann, David. "A Plea for Perlocutions." Conversations: The Journal of Cavellian Studies, no. 4 (May 1, 2016): 41–60. http://dx.doi.org/10.18192/cjcs.v0i4.1612.

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After staging the shipwreck of the constative-performative distinction halfway through How To Do Things With Words, J.L. Austin goes on famously to “make a fresh start on the problem.” He relinquishes the original opposition between making statements and doing things and then introduces a ternary account of speech acts. He distinguishes between locutionary acts (in which we produce sounds with “a certain sense and a certain reference”[95]), illocutionary acts (in which we perform acts such as “asking or answering a question, giving some information… announcing a verdict...and the numerous like
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