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El. knyga: Performing Arousal: Precarious Bodies and Frames of Representation

Edited by (University of Ottawa, Canada), Edited by (University of Central Florida, USA)
  • Formatas: 272 pages
  • Serija: Methuen Drama Engage
  • Išleidimo metai: 16-Dec-2021
  • Leidėjas: Methuen Drama
  • Kalba: eng
  • ISBN-13: 9781350155657
Kitos knygos pagal šią temą:
Performing Arousal: Precarious Bodies and Frames of RepresentationDidesnis paveikslėlis
  • Formatas: 272 pages
  • Serija: Methuen Drama Engage
  • Išleidimo metai: 16-Dec-2021
  • Leidėjas: Methuen Drama
  • Kalba: eng
  • ISBN-13: 9781350155657
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Shortlisted for the 2023 TaPRA Edited Collection Prize

This book considers arousal as a mode of theoretical and artistic inquiry to encourage new ways of staging and examining bodies in performance across artistic disciplines, modern history, and cultural contexts. Looking at traditional drama and theatre, but also visual arts, performance activism, and arts-based community engagement, this collection draws on the complicated relationship between arousing images and the frames of their representability to address what constitutes arousal in a variety of connotations. It examines arousal as a project of social, scientific, cultural, and artistic experimentation, and discusses how our perception of arousal has transformed over the last century. Probing what arouses in relation to the ethics of representation, the book investigates the connections between arousal and pleasures of voyeurism, underscores the political impact of aroused bodies, and explores how arousal can turn the body into a mediated object.

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Short-listed for The TaPRA Edited Collection Prize 2023 (UK).An unprecedented investigation into the complicated and multifaceted relation between arousal and the precarious body from a range of perspectives.

INTRODUCTION (Julia Listengarten, University of Central Florida, US, and Yana Meerzon, University of Ottawa, Canada)

SECTION ONE - PLEASURED BODY

Chapter 1: Violence, Puppetness and the Female Simulacrum as Mediated Body/Object in the Central European Avant-Garde (Tim Butler Garrett, visiting lecturer Wimbledon College of Art, UK)

Chapter 2: Blood and Desire: Collaborating Through Arousal (Alissa Clarke, De Montfort University, UK)

Chapter 3: Live Lips vs. Suspended Animation: Interrogating Arousal in the Avant-garde Performance Archive (Lara Cox, American University Paris, France)

Chapter 4: "Upside-Down": The Rough Play of Narcissister's Avant-Porn (Rebecca Clark, Dartmouth Society of Fellows, UK)

SECTION TWO - POLITICAL BODY

Chapter 5: Hoch's Weimar and Wilhelm: Em-Bodied Critiques of Ideology in Dadist Photomontage (J. Brandon Pelcher, Visiting Assistant Professor, Johns Hopkins University, US)

Chapter 6: The Collisions of Reality Friction: Tactics of Structural Ambiguity in Christoph Schlingensief's Bitte Liebt Osterreich (Tony Perucci, University of North Carolina, US)

Chapter 7: Pussy Riot's Guerrillas Performances and Mediatized Images of Violence: Transgressing Bodies, Boundaries and Ethics of Representation (Julia Listengarten, University of Central Florida, US)

Chapter 8: Performing Body as a Site for Feminist Theatrical Discourse: Theatre of Anuradha Kapur (Indu Jain)

Artistic Intervention One: "Lifeforce" (Naila Keleta-Mae, University of Waterloo, Canada)

SECTION THREE - TRANS/BODY

Chapter 9: Dali's Dream of Venus, Ripley's Odditorium, and Able-bodied Heteronormativity at the 1939 New York World's Fair (Keri Watson, University of Central Florida)

Chapter 10: Catherine's Rire de la meduse: Text and Body in Hemingway's Garden of Eden (Catherine Clark, Averett University Virginia, US)

Chapter 11: Sacrificed Female Bodies: Necropolitics and its Intrusion in Intimacy as an Accomplishment of Tragedy (Selim Rauer, PhD candidate, University of Minnesota, US)

Chapter 12: Both Sides, Now: Arousing Gestures and A Dramaturgy of Beyond End-of-Life (Alvin Eng Hui LIM, National University of Singapore, Singapore)

SECTION FOUR - ABJECT BODY

Chapter 13: The Knee, the Elbow, the Face: On Body as Synecdoche in Vladimir Nabakov's Visual Imagination (Yana Meerzon, University of Ottawa, Canada)

Chapter 14: The Thinking Body in Handspring Puppet Company (Dawn Tracey Brandes, Fountain School of Performing Arts at Dalhousie University, Canada)

Chapter 15: Transformation and Arousal: The Pleasure of Performative Indeterminacy in Persona Theatre Company's Phaedra I-- (Avra Sidiropoulou, Open University of Cyprus, Cyprus)

Chapter 16: Signaling Through the Flames: Media Imagery and the Embodied Empathic Gaze (Dorita Hannah, practitioner/scholar)

Artistic Intervention Two: The MIGRANTO Collective: Street Performance Research Project (Artur Matuck, Karina Quintanilha and Daniel Perseguim)

Bibliography

Index

Julia Listengarten is Professor of Theatre, Artistic Director and Director of Graduate Studies at University of Central Florida. She has written on avant-garde and contemporary theatre, theory and practice of performer training, scenographic practices and performances of national identity.

Yana Meerzon teaches at the Department of Theatre, University of Ottawa. Her research interests are in drama and performance theory, theatre of exile and migration, and cultural and interdisciplinary studies.
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