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Techniques of the real in performanc...

Chalmers, Jessica.

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Techniques of the real in performance since the 1960s.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Techniques of the real in performance since the 1960s./
作者:	Chalmers, Jessica.
面頁冊數:	265 p.
附註:	Source: Dissertation Abstracts International, Volume: 60-09, Section: A, page: 3204.
Contained By:	Dissertation Abstracts International60-09A.
標題:	Theater. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9945259
ISBN:	9780599472396

Techniques of the real in performance since the 1960s.
Chalmers, Jessica.

Techniques of the real in performance since the 1960s. - 265 p.

Source: Dissertation Abstracts International, Volume: 60-09, Section: A, page: 3204.

Thesis (Ph.D.)--New York University, 1999.

This dissertation looks at modes of presence generated by avant-garde performance during the 1960s. Looking at Minimalist dance performance, the art of everyday life, feminist interventionary art, and theatrical participation, I argue that these "techniques of the real" reveal contemporary understandings about the performativity of identity in the postmodern theatrum mundi described by theorists from Guy Debord to Jean Baudrillard.

ISBN: 9780599472396Subjects--Topical Terms:

522973
Theater.

Techniques of the real in performance since the 1960s.
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245 1 0 $a Techniques of the real in performance since the 1960s.
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500 $a Source: Dissertation Abstracts International, Volume: 60-09, Section: A, page: 3204.
500 $a Adviser: Una Chaudhuri.
502 $a Thesis (Ph.D.)--New York University, 1999.
520 $a This dissertation looks at modes of presence generated by avant-garde performance during the 1960s. Looking at Minimalist dance performance, the art of everyday life, feminist interventionary art, and theatrical participation, I argue that these "techniques of the real" reveal contemporary understandings about the performativity of identity in the postmodern theatrum mundi described by theorists from Guy Debord to Jean Baudrillard.
520 $a My first chapter, "Against 'Narcissism, Virtuosity, and Display,' " describes Yvonne Rainer's early use of a casual and object-like presence in dance. Influenced by John Cage's teachings on chance as well as by Minimalist painting and sculpture, Rainer's antitheatricalism later "Dramaturgy of Everyday Life," looks at narrativity in Two Serious Ladies (1943) by the novelist Jane Bowles, in performance projects by the visual artist Sophie Calle, and in filmmaker Chris Kraus's "performative autobiography" I Love Dick (1997). This work, which defines a submissive and "quirky" point of view as character, treats ordinary experience as salvageable content. The third chapter, "Performances of the Personal," defines a presence whose interventionary power rests on an ethic of full disclosure. I discuss essentialism in the work of feminist artist Judy Chicago, grotesque public interventions by conceptual artist Adrian Piper, the "personal critics" (Jane Tompkins, Nancy Miller), and my own participation in the research-and-performance group, The V-Girls. The final chapter, "The Mystique of Interactivity," compares what Herbert Blau calls the "participation mystique" of 1960s theater to Internet-related performance today. While the former relies on a spiritualized notion of mutual presence defined spatially and temporally, the latter has winnowed the real of presence to the unreal of "real-time" in chat and related networking applications.
520 $a This dissertation does not plead for any kind of return to oppositional presence. Instead---in light of the impact, during and after the 1960s, of (multi)media proliferation and also of theories of symbolic mediation---I trace the altered forms in which presence and the real continue to be evoked today, as simulation or vestige.
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