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The Living Archives: Journeys Through Performance Remains.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The Living Archives: Journeys Through Performance Remains./
作者:	Tumilowicz, Agata .
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2020,
面頁冊數:	207 p.
附註:	Source: Dissertations Abstracts International, Volume: 81-10, Section: A.
Contained By:	Dissertations Abstracts International81-10A.
標題:	Comparative literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=27667304
ISBN:	9798607310721

The Living Archives: Journeys Through Performance Remains.
Tumilowicz, Agata .

The Living Archives: Journeys Through Performance Remains. - Ann Arbor : ProQuest Dissertations & Theses, 2020 - 207 p.

Source: Dissertations Abstracts International, Volume: 81-10, Section: A.

Thesis (Ph.D.)--New York University, 2020.

This item is not available from ProQuest Dissertations & Theses.

Scholarship has put "the recorded" and "the live" in a state of constant tension, in which archive was posited in opposition to performance, or embodied performance against archive. Here, the archive is posited as a lasting receptacle of artifacts from the past, producing historical depictions and representations of some kind fixed, bygone reality. By contrast, performance is considered to be a live event with some documented afterlives, but ultimately dominated by fleeting liveness that is inaccessible to the archive. However, archives often store the traces of performance development, revealing genealogies of liveness hidden within. The goal of my dissertation is to uncover these creative beginnings and to supplement the existing scholarship with a more adequate analysis of the relationship between "live" and "recorded".My dissertation is an interdisciplinary and transnational study of the relationship between performance and documentation, which takes the moment of "here and now" as its nexus of access. In questioning whether the relationship between performance and documentation has been sufficiently explored, I propose to look back to the archives in search of interactions, synchronicities and equivalencies between the two. My scholarly intervention aspires to reconfigure this relationship and to trouble the opposition between that which is "live" and that which is not readily present, in order to see whether it is possible for liveness to reside in the archive. My purpose here is not to reinstate anew the lasting superiority of the archive, but to rather return to the archive in order to explore the lasting codependency of both performance and its material remains.The body of my research mainly consists of creative theatrical self-archives and archives of creative process, all in one way or another connected to the period of global political turmoil after 1968. All of my case studies testify to the mercuriality of archives, as well as the recurring and still-lively nature of performance. The first two chapters focus on the relationship between performance and self-archive of the American Living Theater and the French Le Theatre du Soleil. The two following chapters examine the archives of two Polish alternative theater groups, Akademia Ruchu and Teatr Osmego Dnia, and their relationship to the communist secret police archives.

ISBN: 9798607310721Subjects--Topical Terms:

570001
Comparative literature.
Subjects--Index Terms:

1968

The Living Archives: Journeys Through Performance Remains.
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500 $a Source: Dissertations Abstracts International, Volume: 81-10, Section: A.
500 $a Advisor: Jarcho, Julia.
502 $a Thesis (Ph.D.)--New York University, 2020.
506 $a This item is not available from ProQuest Dissertations & Theses.
506 $a This item must not be sold to any third party vendors.
520 $a Scholarship has put "the recorded" and "the live" in a state of constant tension, in which archive was posited in opposition to performance, or embodied performance against archive. Here, the archive is posited as a lasting receptacle of artifacts from the past, producing historical depictions and representations of some kind fixed, bygone reality. By contrast, performance is considered to be a live event with some documented afterlives, but ultimately dominated by fleeting liveness that is inaccessible to the archive. However, archives often store the traces of performance development, revealing genealogies of liveness hidden within. The goal of my dissertation is to uncover these creative beginnings and to supplement the existing scholarship with a more adequate analysis of the relationship between "live" and "recorded".My dissertation is an interdisciplinary and transnational study of the relationship between performance and documentation, which takes the moment of "here and now" as its nexus of access. In questioning whether the relationship between performance and documentation has been sufficiently explored, I propose to look back to the archives in search of interactions, synchronicities and equivalencies between the two. My scholarly intervention aspires to reconfigure this relationship and to trouble the opposition between that which is "live" and that which is not readily present, in order to see whether it is possible for liveness to reside in the archive. My purpose here is not to reinstate anew the lasting superiority of the archive, but to rather return to the archive in order to explore the lasting codependency of both performance and its material remains.The body of my research mainly consists of creative theatrical self-archives and archives of creative process, all in one way or another connected to the period of global political turmoil after 1968. All of my case studies testify to the mercuriality of archives, as well as the recurring and still-lively nature of performance. The first two chapters focus on the relationship between performance and self-archive of the American Living Theater and the French Le Theatre du Soleil. The two following chapters examine the archives of two Polish alternative theater groups, Akademia Ruchu and Teatr Osmego Dnia, and their relationship to the communist secret police archives.
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