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xi | |
| Acknowledgments |
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xiii | |
| Introduction: what is performance? |
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1 | (8) |
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2 | (1) |
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2 | (1) |
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3 | (1) |
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4 | (1) |
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Theatre and performance art |
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5 | (1) |
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6 | (3) |
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1 The performance of culture: anthropological and ethnographic approaches |
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9 | (23) |
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Performance and anthropology |
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10 | (1) |
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11 | (1) |
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Kenneth Burke and the rhetoric of performance |
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12 | (2) |
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Victor Turner and social drama |
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14 | (1) |
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Richard Schechner and social drama |
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15 | (2) |
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17 | (2) |
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19 | (2) |
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21 | (2) |
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23 | (9) |
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2 Performance in society: sociological and psychological approaches |
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32 | (30) |
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Nikolas Evreinoff and social roles |
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33 | (1) |
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Kenneth Burke and dramatism |
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34 | (1) |
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Erving Goffman and role playing |
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35 | (1) |
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36 | (1) |
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Umberto Eco and ostentation |
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37 | (1) |
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38 | (2) |
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Social performance---negative views |
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40 | (1) |
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Bruce Wilshire and ethical responsibility |
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41 | (1) |
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Social performance---positive views |
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42 | (1) |
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43 | (1) |
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44 | (1) |
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Eric Berne and Talcott Parsons |
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44 | (1) |
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45 | (2) |
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47 | (1) |
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Schecbner and restored behavior |
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48 | (2) |
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Binocular vision and the actual |
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50 | (2) |
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Performance and psychoanalysis |
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52 | (1) |
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Identification and psychosemiotics |
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52 | (1) |
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Elin Diamond and psychoanalytic theory |
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53 | (1) |
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Ann Pellegrini and racial identity |
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54 | (1) |
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Pathologies of identification---hysteria |
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54 | (1) |
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Pathologies of identification---homosexuality |
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55 | (1) |
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Pathologies of identification---melancholia |
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56 | (1) |
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Judith Butler and melancholia |
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57 | (1) |
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Tomkins, Sedgwick and Muhoz |
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57 | (1) |
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58 | (4) |
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3 The performance of language: linguistic approaches |
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62 | (29) |
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62 | (1) |
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The post-structuralist challenge |
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63 | (1) |
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Chomsky's competence and performance |
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64 | (1) |
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Dell Hymes and functional linguistics |
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64 | (1) |
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Bahktin and the utterance |
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65 | (2) |
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Austin and speech act theory |
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67 | (1) |
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Searle and speech act theory |
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68 | (1) |
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Kristeva and speech act theory |
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69 | (1) |
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Benveniste and speech act theory |
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70 | (1) |
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Katz and speech act theory |
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70 | (1) |
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Shoshana Felman and the literary speech act |
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71 | (2) |
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73 | (1) |
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73 | (1) |
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74 | (1) |
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Kristeva and the problem of the "author" |
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74 | (1) |
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Intentions and effects in literary speech acts |
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75 | (1) |
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Drama as a literary speech act |
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76 | (1) |
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Speech acts within the drama |
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77 | (1) |
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Speech act theory and semiotics: Keir Elam |
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77 | (1) |
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Speech act theory and semiotics: Eli Rozik |
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78 | (1) |
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79 | (1) |
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Jacques Derrida and citation |
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80 | (2) |
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Bourdieu and social authority |
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82 | (1) |
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Judith Butler and performativity |
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82 | (3) |
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Butler, Spivak and precarity |
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85 | (1) |
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Performance and the social sciences: a look backward |
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86 | (5) |
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4 Performance in its historical context |
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91 | (28) |
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Performance's new orientation |
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91 | (1) |
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91 | (1) |
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The avant-garde tradition |
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92 | (2) |
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Jean Alter and the performant function |
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94 | (1) |
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Folk and popular performance |
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95 | (2) |
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97 | (1) |
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98 | (1) |
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99 | (2) |
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101 | (1) |
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102 | (1) |
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Russian experimental performance |
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102 | (1) |
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103 | (1) |
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104 | (1) |
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104 | (1) |
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105 | (2) |
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107 | (1) |
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108 | (2) |
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St Denis and the tradition of dance |
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110 | (1) |
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John Cage, Merce Cunningham, Anna Halprin |
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110 | (2) |
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112 | (2) |
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Kostelanetz and the Theater of Mixed Means |
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114 | (5) |
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119 | (30) |
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The beginnings of performance art |
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119 | (1) |
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120 | (1) |
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120 | (2) |
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Chris Burden, Vito Acconci, Marina Abramovic |
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122 | (1) |
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Performance art and theatre |
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123 | (1) |
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The Theatre of Mixed Means |
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124 | (1) |
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Early British performance art |
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124 | (1) |
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125 | (1) |
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Outdoor and site-specific performance |
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126 | (3) |
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129 | (1) |
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130 | (2) |
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132 | (1) |
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Persona performance and walkabouts |
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133 | (2) |
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Autobiographical performance |
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135 | (1) |
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136 | (1) |
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137 | (1) |
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138 | (1) |
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139 | (2) |
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141 | (1) |
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142 | (1) |
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142 | (1) |
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Performance and new technology |
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143 | (1) |
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144 | (5) |
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6 Performance and the postmodern |
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149 | (26) |
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149 | (1) |
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150 | (1) |
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Greenberg, Fried, and modernism |
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151 | (2) |
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153 | (2) |
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Sally Banes and post-modern dance |
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155 | (1) |
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156 | (2) |
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Charles Jencks and Linda Hutcheon |
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158 | (1) |
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159 | (1) |
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Hal Foster and "neoconservative" postmodernism |
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160 | (2) |
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Postmodernism and poststructuralism |
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162 | (1) |
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Josette Feral: performance and theatricality |
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163 | (2) |
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Performance as experience |
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165 | (1) |
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166 | (1) |
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Postmodern performance and politics |
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167 | (2) |
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Postmodernism and the postdramatic |
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169 | (1) |
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170 | (5) |
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7 Performance and identity |
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175 | (34) |
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175 | (1) |
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Liberal and cultural feminism |
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176 | (1) |
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176 | (1) |
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Women's performance in the 1960s |
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177 | (1) |
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The pioneers of women's performance |
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178 | (1) |
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179 | (1) |
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Autobiographical performance |
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180 | (1) |
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Autobiographical performance and formalist theory |
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181 | (1) |
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182 | (1) |
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183 | (1) |
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184 | (2) |
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186 | (1) |
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186 | (2) |
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188 | (2) |
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Later works of the NEA Four |
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190 | (1) |
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Performance and ethnicity |
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191 | (1) |
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192 | (1) |
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Other ethnic identity performance |
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193 | (2) |
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Performance in the 1990s, new voices, new bodies |
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195 | (1) |
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Characters from the streets |
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196 | (2) |
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198 | (1) |
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199 | (1) |
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200 | (1) |
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201 | (2) |
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203 | (6) |
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209 | (46) |
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Guerrilla and street performance |
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209 | (1) |
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Feminist guerrilla theatre and the Guerrilla Girls |
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210 | (2) |
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212 | (1) |
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Social concerns in early feminist performance |
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212 | (1) |
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German and English perspectives |
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213 | (1) |
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The search for subjectivity |
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214 | (1) |
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The female performer, subjectivity, and the gaze |
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215 | (1) |
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Gendered and raced bodies in performance |
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216 | (2) |
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Visibility and representation |
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218 | (1) |
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219 | (1) |
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220 | (2) |
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Mimicry, cultural stereotypes, and the post-colonial |
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222 | (1) |
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Spiderwoman: mimicry and counter-mimicry |
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223 | (1) |
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Countermimicry and cultural representation |
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223 | (2) |
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225 | (1) |
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Gomez-Vena's border crossings |
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226 | (1) |
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The Yes Men: corporate countermimicry |
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226 | (1) |
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The problem of re-inscription |
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227 | (1) |
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Strategic essentialism and the politics of representation |
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228 | (1) |
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229 | (1) |
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Performance and the community |
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230 | (2) |
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Political performance at the end of the century |
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232 | (1) |
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233 | (3) |
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Intercultural performance in a global context |
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236 | (6) |
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Conclusion: what is performance? |
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242 | (1) |
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Performance and the blurring of boundaries |
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242 | (2) |
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244 | (1) |
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Conquergood's 1991 survey of the field |
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245 | (2) |
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Performance studies international |
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247 | (1) |
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248 | (2) |
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Coda: an apologia for theatre |
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250 | (5) |
| Glossary |
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255 | (9) |
| Bibliography |
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264 | (17) |
| Name index |
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281 | (7) |
| Subject index |
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288 | |
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