UNIT I : Performance/Performativity/Performance Studies
9/11 What is performance?
9/18 What is Performance Studies?
9/25 What is performativity?
UNIT II: Object Performance
10/2 Dead or Alive
Friday 10/6 Introduction to toy theatre
10/9 Yom Kippur: Class cancelled
Friday 10/13 Toy theatre workshop
10/16 Toy theatre workshop
Friday 10/19 Toy theatre workshop
Sunday 10/ 22 All day workshop and evening performance
10/23 Performing theory/theorizing performance
UNIT III Total Performance
10/3 Ethnographic method
Tuesday 10/31 Halloween
11/6 Reports from the field
Tuesday 11/7 Presidential election
11/13 Historical method
11/20 Reports from the archive
Unit IV Liveness
12/4 Workshop: Interviewing
12/11 Life Online
Williams, Keywords. Read introduction and entries for Culture
Pavis, Dictionary of the Theatre. Read entries for Perception, Performance Analysis, Performance Art, Performance Text, Performer, Performing Arts, Theatre Art, Theatre of Everyday Life, Theatricality, Theatrical Performance, Theatrical Reality, Total Theatre, Theatron, Theory of Theatre.
Nelson and Schiff, Critical Terms for Art History. Read entry for Representation.
Lentricchia and McLaughlin, Critical Terms for Literary Study. Read entry for Performance.
Assignment: Note every use of the term of performance in daily life as well as in what you read, including newspapers (see especially the sports, business, and arts and leisure sections). Write a 2-3 page keyword entry for Performance. Bring this entry to class Monday September 11. Keyword essays.
Attend at least one performance during the Henson Festival between September 6 and 24. Write a performance description. Due: Monday 10/2 Performance description of one performance from the Henson Festival.
Johns Hopkins Guide to Literary Theory and Criticism -- consult hard copy
at Bobst for the complete entries.
Words of art
Schechner, 1985. "Restoration of behavior," Between theatre and anthropology , pp. 35-116.
Hibbitts, Coming to Our Senses: Communication and Legal Expression in Performance Cultures.
Goodman.1976. Languages of Art, pp. 113-122. Distinguishes allographic/autographic arts.
Mauss, 1992. "Techniques of the body ." Incorporations. eds. Crary and Kwinter. Pp. 454-77.
Barba and Savarese, A dictionary of theatre anthropology: the secret art of the performer.
Goffman, "Performances," The Presentation of Self in Everyday Life, pp. 17-76.
Goffman, "The Theatrical Frame," Frame Analysis, pp. 124-155.
Dening, "Theatricality and the Paradoxes of Acting," Performances, pp. 101-127.
Bauman, "Performance," Folklore, Cultural Performance, and Popular Entertainments, pp. 41-49.
Taylor, "The Theatre of Operations: Performing Nation-ness in the Public Sphere," Disappearing Acts: Spectacles of Gender and Nationalism in Argentina's 'Dirty War."
Williams, "Argument: Text and Performance," in Huxley and Witts, The Twentieth-Century Performance Reader, pp. 369-383.
Feral, "Performance and Theatricality: The Subject Demystified," in Murray, Mimesis, Masochism & Mime: The Politics of Theatricality in Contemporary French Thought, pp. 289-300.
Egginton, "An Epistemology of the Stage: Theatricality and Subjectivity in Early Modern Spain," New Literary History 27, 3 (1996): 391-413.
Schimmel et al. 1998. Out of actions: between performance and the object, 1949-1979.
Kirshenblatt-Gimblett. 1999. "Playing to the senses: food as a performance medium," Performance Research 4, no. 1: 1-30.
9/18 What is Performance Studies?
Schechner, 1995. "Performance
Studies: The Broad Spectrum Approach"
Phelan, 1998. "Introduction: The ends of performance," in The Ends of Performance, pp. 1-19.
Pelias and VanOosting, 1992. "A Paradigm for Performance Studies"
Franko and Richards, 2000. "Actualizing absence: the pastness of performance," in Acting on the Past: Historical Performance Across the Disciplines, pp. 1-9.
Kirshenblatt-Gimblett, 1999. Performance Studies
Schechner, 2000. "TDR Comment: Post Post-Structuralism?" TDR 44 (3): 4-7.
McKenzie, 1996."All performance is electronic"
Due: Friday 9/15 Written response to the readings.
Carlson, Performance: A critical introduction.
Pavis, Patrice, ed. The Intercultural Performance Reader.
Pradier, forthcoming. "Ethnoscenology: the flesh is spirit. New approaches to theatre studies and performance analysis," Colston Symposium, ed. Günter Berghaus.
Pradier, 1990. "Towards a biological theory of the body in performance," New Theatre Quarterly 6,21.
Carroll, Noel. 1986 "Performance." Formations 3(1):63-81.
Dolan, Jill. 1997. "Advocacy and activism: identity, curriculum, and theatre studies in the twenty-first century . Theatre Topics 7(1):1-10.
Bauman and Briggs. 1990 "Poetics and performance as critical perspectives on language and social life." Annual Review of Anthropology 19: 59-88.
Schechner, "Points of Contact" and "Performers and Spectators,Transported and Transformed," Between Theater and Anthropology, pp. 3-34, 117-150.
Schechner, "The five avant-gardes," in The twentieth-century performance reader, pp. 308-326.
Beeman, "The anthropology of theater and spectacle," Annual Review of Anthropology. 1993; 22:369-393.
Barish, The Anti-Theatrical Prejudice (1981), especially the introduction.
Wagner, Adversaries of Dance from the Puritans to the Present (1997), pp. 363-397.
Symposia Sunday September
17 and Monday September 18, at Cooper Union. Meet the artists who are performing
in the Henson Festival. Topics include: technology in performance, forms in
motion, visualizing text, man and machine, forms in motion.
Exhibitions created for the Henson Festival, including STICKS, RAGS & STRINGS: THE ART OF CONTEMPORARY PUPPETRY (with lecture demonstrations) at the World Financial Center, FORMS IN MOTION at Cooper Union, JIM HENSON IN THE WORLD OF PUPPETRY at the Public Theatre. They close soon.
UNIT II: Object Performance
DUE: Performance description of one performance from the Henson Festival.
Kleist,  1989. "On the Marionette Theater," in Fragments for a history of the human body, Part 1, pp. 415-420. [Paska translation]
Craig, . "The Actor and the Über-Marionette," On the art of the theatre, pp. 54-95.
Gropius & Wensinger, The Theater of the Bauhaus.
Due: Friday 9/29 Written response to the readings.
Keep a workbook/journal of the process of creating a toy theatre.
This document should combine your creative process with your reflections on
it, in light of the readings and discussion in class. DUE: Friday
Cixous, 1991. "Grace and Innocence: Heinrich von Kleist," Readings,
de Man,1984. "Aesthetic Formalization: Kleist's Über das Marionettentheater," The rhetoric of romanticism, pp. 263-314.
Breton, 1969. "Surrealist Situation of the Object:Situation of the Surrealist Object," in Manifestos of Surrealism.
Leger, 1973. "The Spectacle: Light, Color, Moving Image, Object-Spectacle," in Functions of Painting . Pp. 35-47.
Proshan, 1983. "The semiotic study of puppets, masks, and performing objects." Semiotica 47(1/4):3-44.
Tillis, 1996. "The actor occluded: puppet theatre and acting theory 1" Theatre Topics 6 (2): 109-119.
Keeler, 1987. Javanese shadow plays, Javanese selves.
Becker, 1979. "Text-building, epistemology, and aesthetics in Javanese shadow theatre," in The imagination of reality. Pp. 211-143.
Fried (June 1967) "Art and objecthood." Artforum.
Puppet Tree: A Model for the Field of Puppet Theatre", TDR
Bell, 1996. A short, entertaining history of toy theater. New York: Great Small Works.
Four short plays: "Mr. Fish and Mrs. Bones," "The tune the old cow died of," "The Gordian knot," "The three men of Gotham."
Paska, 1989. ""The Inanimate Incarnate, " in Fragments for a history of the human body, Part 1, pp. 410-412.
Paska. "Puppet, primitive, and the future of an illusion," The Language of the Puppet, pp. 37-42.
Kott, 1976. "Bunraku and Kabuki, or, about imitation." Salamagundi 35 (fall): 99-109.
Barthes, "The Three Writings" and "Animate/Inanimate," Empire of Signs, 48-55, 58-60.
Due: Friday 10/6 Written response to the readings.
and Performing Objects in the Twentieth Century," Performing Arts Journal
56 (1997): 29-46.
Bell, "Entertainment, Spectacle, Crime: Puppetry in the Year 2000" Unpublished essay.
Speaight, History of English Toy Theatre. See especially, pp. 9-14, 30-33, 52-69, 82-109.
Bell, special issue of TDR (1999) 43, 3 (fall): Puppets, masks, and performing objects
Tillis, Steve. "The Art of Puppetry in the Age of Media Production" TDR (1999).
Beaune, Jean-Claude. 1989. "The classical age of automata: an impressionistic survey from the sixteenth to the nineteenth century," in Fragments for a history of the human body, Part 1, pp. 430-480.
Adache. 1985. Backstage at Bunraku
Veltruskı, 1964. "Man and object in the theater ." A Prague school reader on esthetics, literary structure, and style. Pp. 83-91.
Schimmel, Paul, Kristine Stiles, and Museum of Contemporary Art (L.A.) 1998. Out of actions between performance and the object, 1949-1979.
10/9 Yom Kippur: Class canceled
10/18-20 Conference--Metamorphoses 2000: Expressive Technology, Art and Humanities at School of Visual Arts, 209 E. 23rd St.
10/19 Lecture--Daniel Miller, "Ethnography Meets Virtual Reality: Trinidad, Religion, and the Internet." Main Building, 100 Washington Square East, Room 713, 4:55-6:10 pm.
Sunday 10/ 22 All day workshop and
evening performance. Family and friends are welcome to attend.
!!! Toy Theatre Website !!! for photographs of all of our performances.
10/23 Performing theory/theorizing
Due: Monday 10/30 Workbook/journal is due.
Recommended (Thanks to Yoko Takahashi for Bunraku links)
An introduction to Bunraku
Bunraku link in Japanese
10/19 Pre-Opening Party and Benefit Auction (RSVP: 212-787-8457) for Great Small Works Fifth International Toy Theatre Festival (11/2-19). All Toy Theatre events at HERE Arts Center, 145 Avenue of the Americas. For tickets: 212-647-0202.
10/21 Official Opening of Temporary Toy Theatre Museum (10/21-12/2)
10/27-5 Ping Chong, Kwaidon, Puppetry performances
11/4 Toy Theatre Symposium, 3 pm. HERE Arts Center. 145 Avenue of the Americas.
UNIT III Total Performance
Geertz, 1973. "Thick description," The interpretation
of cultures, pp. 3-30.
Barsz, 1997. "Confronting the field(note) in and out of the field," in Shadows in the Field, pp. 45-62.
Newton, 1979. Mother Camp: Female impersonators in America.
Butler, "Critically queer," Bodies that matter, pp. 223-242.
Due: Friday 10/27 Written response to the readings.
Emerson, Fretz, and Shaw. 1995. Writing Ethnographic Fieldnotes.
Amit-Talai, 2000. Constructing the field ethnographic fieldwork in the contemporary world.
Davies. 1999. Reflexive ethnography a guide to researching selves and others.
Sanjek,1990. Fieldnotes the makings of anthropology.
Smith, 1999. Decolonizing methodologies: research and indigenous peoples.
Kulick and Willson. 1995. Taboo sex, identity, and erotic subjectivity in anthropological fieldwork.
Fabian, 1983. Time and the Other: How Anthropology Makes Its Object.
Fabian, 1990. "...From informative to performative ethnography," Power and performance: ethnographic explorations through proverbial wisdom and theater in Shaba, Zaire. Pp. 3-22.
Turino.1990. "Structure, event and process in musical ethnography." Ethnomusicology 34, 3.
Senelick, 2000. The changing room: varieties of theatrical cross-dressing
Kisliuk, 1998. Seize the dance! : BaAka musical life and the ethnography of performance
Wulff, 1998. Ballet across borders career and culture in the world of dancers.
Davis, 1997. Spectacular nature corporate culture and the Sea World experience.
Feld, 1982. Sound and sentiment: birds, weeping, poetics, and song in Kaluli expression.
Ness, 1992. Body, Movement, and Culture: Kinesthetic and Visual Symbolism in a Philippine Community.
Novak, Cynthia. 1990. Sharing the Dance: Contact Improvisation and American Culture.
Seremetakis, 1991. The last word: women, death, and divination in inner Mani.
Kondo, 1990. Crafting selves: power, gender, and discourses of identity in a Japanese workplace.
Newton, 2000. Margaret Mead made me gay: personal essays, public ideas.
Hughes, 1996. Clit notes: a Sapphic saga.
Assignment: Bring Mother Camp to class and a one-page tip sheet on Newtons techniques of ethnographic fieldwork and writing, to be handed in. Look specifically at her interviewing techniques, her use of participant-observation, her fieldnotes and the way she integrates her interviews, fieldnotes, and observations into her text.
11/6 Reports from the field
Huizinga, Homo Ludens, pp. 1-27.
Bakhtin, "Carnival ambivalence" and "A glossary of key terms," in The Bakhtin reader, pp. 194-244, 245-252.
Stalleybrass and White. 1986. "Bourgeois hysteria and the carnivalesque," The politics and poetics of transgression, pp. 171-190.
McGrath, 1995. "Trusting in rubber: performing boundaries during the AIDS epidemic." TDR 39,2 (T146) Summer 1995, 21-38.
Due: Friday 11/3 Written response to the readings.
Kugelmass, "Designing the Greenwich Village Halloween Parade," in Santino, Halloween and other festivals of life and death, pp. 187-217.
Kugelmass and Allen. 1994. Masked culture the Greenwich Village Halloween parade.
Santino, Jack. 1998. The hallowed eve: dimensions of culture in a calendar festival in Northern Ireland. Irish Literature, History, and Culture.
Califia, 1994. "The city of desire: its anatomy and destiny," in Public sex: the culture of radical sex.
Tambiah, 1979. "A performative approach to ritual," Proceedings of the British Academy 65.
Bell, 1992. Ritual theory, ritual practice.
Turner. 1969. "Liminality and communitas," The ritual process, pp. 94-165.
Van Gennep,  . The rites of passage, pp. 166-194.
Hughes-Freeland, 1998. Ritual, performance, media.
Caillois, . Man, play, and games.
Csikszentmihalyi, 1985. Beyond boredom and anxiety: The experience of play in work and games.
Falassi, 1987. Time out of time: essays on the festival.
Bakhtin and The Bakhtin Center.
11/2-19 Fifth International
Toy Theatre Festival
11/4 Toy Theatre Symposium, 3 pm. All events at HERE Arts Center, 145 Avenue of the Americas. For tickets: 212-647-0202.
11/6-12/9 Eighth New York Digital Salon at the School of Visual Arts.
Tuesday 11/7 Presidential election
Hartman, 1997. Scenes of subjection: terror, slavery,and
self-making in nineteenth-century America, 3-78.
Franko, 2000. "Figural inversions of Louis XIV's dancing body," in Acting on the past, pp. 35-51.
Roach, 1998. "Slave spectacles and tragic octoroons: a cultural genealogy of antebellum performance," in Exceptional Spaces, pp. 49-76.
DUE: Friday 11/10 Written response to the readings. Guide to the readings.
Schmidt, 1991. " The
Commercialization of the Calendar: American Holidays and the Culture of Consumption,
1870-1930," Journal of American History 78, 3: 887-916. [note
the sources used]
Stearns and Haggerty, 1991. "The Role of Fear: Transitions in American Emotional Standards for Children, 1850-1950," The American Historical Review 96, 1: 63-94.
Bullough. 1974. "Transvestites in the Middle Ages," American Journal of Sociology 79, 6:1381-1394.
Benjamin  Theses on the philosophy of history. For background, see Spencer.
Nora, spring 1989. "Between memory and history: les lieux de memoire." Representations, No. 26, Special Issue: Memory and Counter-Memory, pp. 7-24.
Mullaney, (Summer, 1983), "Strange Things, Gross Terms, Curious Customs: The Rehearsal of Cultures in the Late Renaissance" Representations, No. 3, pp. 40-67.
Connerton. 1989. How Societies Remember.
Levine, 1988. Highbrow/lowbrow the emergence of cultural hierarchy in America.
Davis, Susan.1986. Parades and power street theatre in nineteenth-century Philadelphia.
Davis, Tracy. 1991. Actresses as Working Women: Their Social Identity in Victorian Culture.
Foster, 1996. Choreography & narrative : ballet's staging of story and desire.
Ozouf, Mona. 1988. Festivals of the French Revolution.
Roach, 1996. Cities of the Dead: Circum-Atlantic Performance.
Dening, 1996. Performances.
Gilroy, 1993. The Black Atlantic: Modernity and Double Consciousness.
Hazzard-Gordon. 1990. Jookin': the rise of social dance formations in African-American culture (first chapter on historical method).
Postlewait, 2000. "Writing history today," Theatre Survey 41,2:82-106.
Roderigo Dominguez, "Electronic Disturbance Theatre"
11/13 Presentation:Natalie Jeremijenko and the Bureau of Inverse Technology at Location One, 26 Greene Street. 7-9 pm.
11/16-17 United Nations Television Forum 2000. Toni Sant is on the program.
Be thinking about the range of sources that you encountered
in the readings and how the authors used them.
Write a 3-4 page essay on Halloween in your decade. Reflect on the nature of your sources and use those sources critically and imaginatively. Try out concepts and techniques encountered in the readings. Reflect on method. DUE: Friday 11/17
Select one person from your group to present your decade to
the class in the form of a 2-page oral report for the Monday class
Thursday 11/23 Macy's Thanksgiving Day Parade. Live on NBC (Ch.4) from 9:00am - 12:00pm EST.See the balloons blown up the night before the parade (Wednesday, November 22nd) from 6pm-11pm Where: 77th St. - 81st St. btw Central Park West and Columbus. Thanksgiving Day Parade is on November 23rd from 9am-noon Where: Starting at W. 77th St. and Central Park West, ending at Macy's, 34th Street and 6th Ave, See Parade Map.
Unit IV Liveness
Phelan. 1993. "The ontology of performance," Unmarked, pp. 146-166.
Auslander. 1999. Liveness, pp. 1-60.
The Playboy Interview: Marshall McLuhan. Playboy Magazine 1969.
Morse, 1998. "The news as performance: the image as event," Virtualities: television, media art, and cyberculture, pp. 36-67.
DUE: 11/27 Written response to the readings. Guide to the readings.
Friday 11/24 Thanksgiving. No class.
Benjamin, "The work of art in an age of mechanical reproduction," Illuminations.
Brecht, "The radio as an apparatus of communication."
Feuer, 1983. "The concept of live television: ontology as ideology," in Regarding television: critical approaches, an anthology.
Dayan and Katz. 1992. Media events: the live broadcasting of history.
Munoz, 1999. "Latina performance and queer worldmaking," Disidentifications.
Doane, 1990. "Information, crisis, catastrophe," in Logics of television: essays in cultural criticism.
Gunning, Tom. 1995. "Phantom images and modern manifestations: spirit photography, magic theater, trick films, and photography's uncanny," in Fugitive Images: From photography to video.
Dienst. 1994. Still life in real time. See "The dangers of being in a televisual world: Heidegger and the ontological question," pp. 103-127.
Schechner, 1985. "News, sex, and performance theory," Between theatre and anthropology, pp. 295-324.
Presidential debates: Archives of presidential debates, 1984-1996 (video, audio, text). Senator John F. Kennedy & Vice President Richard M. Nixon (audio) and Kennedy-Nixon Debates (text). Commission on Presidential Debates. InPulse lets Internet users react in real time to the Presidential and Vice-Presidential debates, while the candidates are speaking.
Olympics: Sydney 2000 Olympics News and Media Coverage -- watch out for controversies re live coverage in opposing time zones. See Olympic Arts Festival.
Art: Digital Performance Archive, Franklin Furnace .
12/4 Workshop: Interviewing
Baum. Tips for interviewers
Ritchie. 1995. Conducting Interviews. in Doing Oral History. Pp. 57-85.
Grele. 1994. "History and the languages of history in the oral history interview: who answers whose questions and why?" in Interactive oral history interviewing, ed. McMahan and Rogers. Pp. 1-18.
DUE: Friday 12/1 Videoconference Sections will meet from 2:30-4:00 pm, 269 Mercer St, room #602. This session is in lieu of the regular morning sessions. Attendence is mandatory. We will convene a videoconference in collaboration with the Graduate Program in Folklore and Folklife of the University of Pennsylvania. Visit the videoconference series website at http://ccat.sas.upenn.edu/videoconference/series/. Many thanks to Toni Sant and Eric Miller for making this event possible.
Eakin, 1999. How our lives become stories: making selves.
Felman and Laub. 1991. Testimony: crises of witnessing in literature, psychoanalysis, and history.
Dunaway and Baum. 1996. Oral history: an interdisciplinary anthology.
Frisch, 1990. A shared authority: essays on the craft and meaning of oral and public history.
Gluck and Patai, eds. 1991. Women's words: The feminist practice of oral history.
Briggs, 1986. Learning how to ask.
Duberman, 1972. Black Mountain: an exploration in community.
Sample interviews: 1, 2, 3, from the Federal Writers' Project. Interview 1 is of special interest.
Transcribing interviews--a style guide
Ethical issues--Oral History Association
The Journal for Multimedia History
Laurel, 1999. "New players, new games," Game Developers' Conference.
Komar & Melamid: The Most Wanted Paintings on the Web
Gomez-Pena, Temple of Confessions: "Confess your Intercultural Cyber-Sins"
Smith, Anna Deveare. 1993. Fires in the Mirror.
Guest: Martha Wilson,
founder of Franklin Furnace.
Turkle, 1995. Life on the Screen, pp. 9-73. And, a note on method.
Munoz, 1999. "Latina performance and queer worldmaking," Disidentifications, pp. 181-200.
Gomez-Pena, "THE VIRTUAL BARRIO @ THE OTHER FRONTIER (or the Chicano interneta)"
Due: Friday 8 Written response to the reading.
Turkle's recent publications.
Haraway, 1991. "A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century," in Simians, Cyborgs and Women: The Reinvention of Nature, pp.149-181.
Kirshenblatt-Gimblett, 1996. "The electronic vernacular," in Connected: enagements with media. ed. Marcus. Links related to "The electronic vernacular."
Play and Performance in Computer-Mediated Communication. Special issue of Journal of Computer-Mediated Communication 1, 2 (1995).
Reid, Electropolis: Communication and Community on Internet Relay Chat (1991) and Cultural Formations in Text-Based Virtual Realities--on MUDS (1994). Full text online of both studies.
Campbell, 1996. Design in Virtual Environments Using Architectural Metaphor
The body is back: communication in cyberspace
Mitchell.1995. City of Bits: Space, Place, and the Infobahn
Sexuality & Cyberspace: Performing the Digital Body. Special issue of Women and Performance, 17.
Murray. 1997. Hamlet on the holodeck: the future of narrative in cyberspace. Related links.
Laurel, 1991. Computers as theatre.
Moser and MacLeod, eds. 1996. Immersed in technology : art and virtual environment.
Rheingold, 1991. Virtual reality, especially "The experience theatre and the art of binocular illusion" and "The origins of drama and the future of fun.". See also Rheingold. 1993. The virtual community.
Chesher, 1994. "Colonizing Virtual Reality: Construction of the Discourse of Virtual Reality, 1984-1992." Cultronix 1,1 (fall).
Johnson, Steven. Interface culture: how new technologies transform the way we create and communicate.
Jones, Steve. 1999. Doing Internet research: critical issues and methods for examining the Net.
Markham. 1998. Life online: researching real experience in virtual space.
Section on Critical Art Ensemble in TDR 44 (4) Winter 2000.
Electronic Literature Directory
The Jargon File
Critical Art Ensemble
Roderigo Dominguez--Electronic Disturbance Theatre
LemonYellow -- "I link, therefore I am: a web intellectual's diary"
Due: Friday 12/15 Portfolio.