Buch, Englisch, 266 Seiten, Format (B × H): 140 mm x 216 mm, Gewicht: 342 g
Theatre in the Academy from Philology to Performativity
Buch, Englisch, 266 Seiten, Format (B × H): 140 mm x 216 mm, Gewicht: 342 g
Reihe: Theatre and Performance Theory
ISBN: 978-0-521-65605-4
Verlag: Cambridge University Press
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. Shannon Jackson 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.
Autoren/Hrsg.
Fachgebiete
- Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Theaterwissenschaft Theatergeschichte
- Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Theaterwissenschaft Theaterregie, Theaterproduktion
- Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Theaterwissenschaft Theatertheorie, Ästhetik des Theaters, Theaterkritik
Weitere Infos & Material
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.
