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Title Statement Critical theory and performance
Publication, Distribution, etc. (Imprint) University of Michigan Press, Ann Arbor : cop. 2007
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Bibliography, etc. Note Includes bibliographical references and index
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ISBN 978-0-472-06886-9 (pbk. : alk. paper) 978-0-472-09886-6 (cloth : alk. paper) 0-472-09886-1 (cloth : alk. paper) 0-472-06886-5 (pbk. : alk. paper)
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Critical Theory and Performance presents a broad range of critical and theoretical methods and applies them to contemporary and historical performance genres--from stage plays, dance-dramas, performance art, cabaret, stand-up comedy, and jazz to circus, street theater, and shamanistic ritual. As the first comprehensive introduction to critical theory's rich and diverse contributions to the study of drama, theater, and performance, the book has been highly influential for more than a decade in providing fertile ground for academic investigations in the lively field of performance studies.
This updated and expanded edition presents nineteen new essays by the field's leading scholars and practitioners as well as new critical introductions by editors Janelle G. Reinelt and Joseph R. Roach. Reflecting recent trends in performance studies, this revised edition now includes discussions of critical race theory, postcolonial studies, gender and sexualities, and mediatized cultures. The resulting volume is a unique and indispensable tool for critics, teachers, and students that paves the way for future scholarship.
Janelle G. Reinelt is Professor of Theatre and Performance at the University of Warwick. Reinelt and Roach
Joseph R. Roach is Charles C. and Dorathea S. Dilley Professor of Theater and English at Yale University.
Preface to the Second Edition p. xi What Is to Be Remembered?: Tourism to Ghana's Slave Castle-Dungeons p. 85 For Whom Is the King a King? Issues of Intercultural Production, Perception, and Reception in a Kathakali King Lear p. 108 Critical Race Theory p. 135 Black/face Publics: The Social Bodies of Fraternidad p. 141 Virtual Chinatown and New Racial Formation: Performance of Cantonese Opera in the Bay Area p. 156 Reality p. 173 Theater History and Historiography p. 191 Theater Events and Their Political Contexts: A Problem in the Writing of Theater History p. 198 Representing History: Performing the Columbian Exposition p. 223 Kinesthetic Empathies and the Politics of Compassion p. 245 Introduction to the First Edition p. 1 After Marx p. 259 Shadows of Brecht p. 268 Historicizing the Relations of Theatrical Production p. 284 Brecht and the Contradictory Actor p. 295 Gender and Sexualities p. 311 Mrs. Siddons Looks Back in Anger: Feminist Historiography for Eighteenth-Century British Theater p. 317 Practicing Cultural Disruptions: Gay and Lesbian Representation and Sexuality p. 334 Fe/male Impersonation: The Discourse of Camp p. 355 Not-About-AIDS p. 372 Psychoanalysis p. 395 Performance Analysis p. 7 The Violence of "We": Politicizing Identification p. 403 Staging Sexual Injury: How I Learned to Drive p. 413 Immobile Legs, Stalled Words: Psychoanalysis and Moving Deaths p. 432 Performance Studies p. 457 Invasions Friendly and Unfriendly: The Dramaturgy of Direct Theater p. 462 Performance Theory, Hmong Shamans, and Cultural Politics p. 482 Animal Rites: Performing beyond the Human p. 506 Mediatized Cultures p. 521 Live from Cyberspace, or, I, Was Sitting at My Computer This Guy Appeared He Thought I Was a Bot p. 526 Virtually Yours: Presence, Liveness, Lessness p. 532 Semiotics and Its Heritage p. 13 Dracula's Daughters: In-Corporating Avatars in Cyberspace p. 547 Contributors p. 563 Index p. 569 The Phenomenological Attitude p. 26 Alceste in Hollywood: A Semiotic Reading of The Misanthrope p. 37 Every Transaction Conjures a New Boundary p. 49 Postcolonial Studies p. 67 Performing History's Unsettlement p. 71