Book Description
In The Archive and the Repertoire preeminent performance studies scholar Diana Taylor provides a new understanding of the vital role of performance in the Americas. From plays to official events to grassroots protests, performance, she argues, must be taken seriously as a means of storing and transmitting knowledge. Taylor reveals how the repertoire of embodied memoryâconveyed in gestures, the spoken word, movement, dance, song, and other performancesâoffers alternative perspectives to those derived from the written archive and is particularly useful to a reconsideration of historical processes of transnational contact. The Archive and the Repertoire invites a remapping of the Americas based on traditions of embodied practice.
Examining various genres of performance including demonstrations by the children of the disappeared in Argentina, the Peruvian theatre group Yuyachkani, and televised astrological readings by Univision personality Walter Mercado, Taylor explores how the archive and the repertoire work together to make political claims, transmit traumatic memory, and forge a new sense of cultural identity. Through her consideration of performances such as Coco Fusco and Guillermo Gómez-Peña’s show Two Undiscovered Amerindians Visit . . . , Taylor illuminates how scenarios of discovery and conquest haunt the Americas, trapping even those who attempt to dismantle them. Meditating on events like those of September 11, 2001 and media representations of them, she examines both the crucial role of performance in contemporary culture and her own role as witness to and participant in hemispheric dramas. The Archive and the Repertoire is a compelling demonstration of the many ways that the study of performance enables a deeper understanding of the past and present, of ourselves and others.
Customer Reviews:
A Vital Intervention.......2006-02-15
Taylor's "The Archive and the Repertoire" is an absolute must-read for all scholars and students in performance studies, cultural studies, Latin American studies, and the social sciences in general.
Drawing on a diverse range of case studies from a Peruvian community theatre troupe to Univision astrologist Walter Mercado to her own firsthand account of witnessing 9/11, Taylor creates a new vocabulary for describing how cultures remember and re-enact with the body.
Although her insights are crucial for the future of performance studies and useful to senior scholars in the field, she writes with a clarity and personality that will engage undergraduate students as well.
VERY highly recommended.
Read This Important New Book.......2003-12-16
In her wonderful new book, Diana Taylor, a distinguished professor of both Spanish and performance studies, brings her areas of expertise into "conversation." Performances, she argues, are vital "acts of transfer" that transmit social knowledge, memory and a sense of identity in Latin/o American (and by extension other) cultures.
She writes, "I am not suggesting that we merely extend our analytic practice to other `Non-Western' areas. Rather, what I propose here is a real engagement between two fields that helps us rethink both." By working from the points of disconnection between area and performance studies Taylor creates a new framework for approaching performance as embodied social practice.
Shifting focus to "the live" requires new methodologies and Taylor creates exciting new theoretical tools to further this discussion. Since, in her view, much performance writing betrays the "embodiedness" it seeks to describe; Taylor coins terms that do not derive from literary sources. The repertoire of her title is her term for a "non-archival system of transfer" that can capture the ephemeral trace of performance. By providing her reader with a kind of archive of affect, Taylor makes the body central. She argues that the repertoire "allows for an alternative perspective on historical processes...by following traditions of embodied practice" instead of literary rhetoric. As an alternative to "narrative" she offers scenario, a term with a theatrical genealogy, meaning an open-ended " sketch or outline" as a way to connote colonial encounters. For example, Taylor wittily names the scenario in which we are encouraged to "overlook the displacement and disappearance of native peoples" at the root of the popular show Survivor, "Fantasy Island." Taylor expands on this theme in her second chapter, Scenarios of Discovery: Reflections on Performance and Ethnography. She writes, "Using scenario as a paradigm for understanding social structures and behaviors might allow us to draw from the repertoire as well as the archive."
Using these terms as "portable frameworks" and moving in and out of first person experience, Taylor explores a range of hemispheric performances. Chapters on the Mexican mestizaje, campy Latino American psychic Walter Mercado, and the ways that minority populations mourned Princess Diana, explore the hybrid spaces between perception and embodied culture. Taylor revisits the Argentinean "Dirty War"
(the topic of her book Disappearing Acts) in her chapter on H.I.J.O.S. -the children of the disappeared- and the "DNA of performance" that links them with their absent parents. Chapters on Brazilian performance artist Denise Stoklos, witnessing 9/11 and a 1998 Central Park performance of Rumba musicians interrupted by the NYPD, investigate the complex relations between hegemonic power and the anarchic spirit of live performance against a background of historic violence.
This book is a path-making piece of scholarship that recognizes performance as a valid focus of analysis. It creates a dialogue between area and performance studies that values the unique features of both. The questions Diana Taylor asks in Archive and the Repertoire extend beyond this work and will shape a terrain of inquiry in performance studies for years to come.
Book Description
Considering social drama, ritual, and postmodern consciousness in relation to the idea of performance, Victor Turner explores the interplay of event, spectacle, audience, and culture and offers new insights into the nature of performance.
Book Description
"
Critical Ethnography represents the best of Professor Madison’s work. As a fan of her written scholarship for a long time, I am pleased to see both this book and Madison’s unique voice in it. Thanks to this text, our students will be better prepared for engaging others."
--John T. Warren,
Bowling Green State University
"
Critical Ethnography is a rare and beautiful synthesis of deft theorizing and principled pragmatics. The complexities of ethnography demand a grasp of both theory and practice, but rarely have they come together so clearly and completely as in this passionately written text. I especially appreciate the thoughtful attention to the intellectual roots of the critical tradition in ethnography, and to the way students are rigorously led through the methodological consequences of critical epistemology."
--Judith Hamera,
California State University, Los Angeles
What is critical ethnography? How do we use theory to interpret research data? What is performance ethnography? Readers can find answers to these fundamental questions in D. Soyini Madison’s engaging and highly multidisciplinary new book,
Critical Ethnography: Methods, Ethics, and Performance.
Critical Ethnography presents a fresh new look at critical ethnography by emphasizing the significance of ethics and performance in the art and politics of fieldwork. The book explores an ethics of ethnography while illustrating the relevance of performance ethnography across disciplinary boundaries. The productive links between theory and method are celebrated in this text. Theoretical concepts range from queer theory, feminist theory, and critical race theory to Marxism and phenomenology. The methodological techniques range from designing and asking in-depth interview questions and developing rapport to coding and interpreting data. The various theories and methods culminate in three fictional ethnographic case studies that "enact" the interdependence between theory and method and the significance of social theory, ethics, and performance.
Key Features:
- Cutting-edge approach and perspective: It is the first book to explore and focus on the intersections between theory, fieldwork methods, performance, and praxis.
- Global examples and material: Theories, methods, and examples are drawn from scholarship that extends beyond the West to include developing world and post-colonial thinkers and practitioners.
- Effective pedagogy: Examples of ethnographic projects illustrate more abstract or complex discussions and concepts.
Critical Ethnography reaches out to any student conducting field research. In particular, upper-division undergraduate and graduate students taking courses in ethnography, qualitative research methods, critical/cultural research methods, or advanced research methods will find this book to be of great value.
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Audiences: A Sociological Theory of Performance and Imagination
Nick Abercrombie , and
Brian Longhurst
Manufacturer: Sage Publications Ltd
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ASIN: 0803989628 |
Book Description
Audiences are problematic and, as such, the study of audiences has represented a key site of activity in the social sciences and humanities. In Audiences, the authors offer a timely review of the past 50 years of theoretical and methodological debate to argue the case for a paradigmatic shift in audience research. This shift, they argue, is necessitated by the emergence of the "diffused audience." Audience experience can no longer be simply classified as "simple" or "mass," for in modern, advanced capitalist societies, people are members of an audience all the time. Being a member of an audience is no longer an exceptional event, nor even an everyday event. Rather, it is constitutive of everyday life. That this is the case is attributable to the fact that our relationship with events and objects in the social world has changed. If the world is increasingly conceived as a spectacle, then so are the people within it, and we become both simultaneously performers and audience. This book offers an invaluable review of the literature and a new point of departure for audience research, and will be welcomed by all students of sociology, media, communication, and cultural studies.
Book Description
In this book, Ana Y. Ramos-Zayas explores how Puerto Ricans in Chicago construct and perform nationalism. Contrary to characterizations of nationalism as a primarily unifying force, Ramos-Zayas finds that it actually provides the vocabulary to highlight distinctions along class, gender, racial, and generational lines among Puerto Ricans, as well as between Puerto Ricans and other Latino, black, and white populations.
Drawing on extensive ethnographic research, Ramos-Zayas shows how the performance of Puerto Rican nationalism in Chicago serves as a critique of social inequality, colonialism, and imperialism, allowing barrio residents and others to challenge the notion that upward social mobility is equally available to all Americans—or all Puerto Ricans. Paradoxically, however, these activists' efforts also promote upward social mobility, overturning previous notions that resentment and marginalization are the main results of nationalist strategies.
Ramos-Zayas's groundbreaking work allows her here to offer one of the most original and complex analyses of contemporary nationalism and Latino identity in the United States.
Customer Reviews:
Indispensible.......2004-04-06
Ramos-Zayas delves into topics that are crucial to ethnographic research. She explores the performance of Puerto Ricans and critiques the social inequalities perpetrated against barrio residents.
The worst book ever.......2004-04-01
A disgrace to Puerto Ricans she hits us with vocabulary that she thinks will make her smart but it is a jumbled mess. Try again
Book Description
The ancient Mesoamerican city of Izapa in Chiapas, Mexico, is renowned for its extensive collection of elaborate stone stelae and altars, which were carved during the Late Preclassic period (300 BC-AD 250). Many of these monuments depict kings garbed in the costume and persona of a bird, a well-known avian deity who had great significance for the Maya and other cultures in adjacent regions. This Izapan style of carving and kingly representation appears at numerous sites across the Pacific slope and piedmont of Mexico and Guatemala, making it possible to trace political and economic corridors of communication during the Late Preclassic period.
In this book, Julia Guernsey offers a masterful art historical analysis of the Izapan style monuments and their integral role in developing and communicating the institution of divine kingship. She looks specifically at how rulers expressed political authority by erecting monuments that recorded their performance of rituals in which they communicated with the supernatural realm in the persona of the avian deity. She also considers how rulers used the monuments to structure their built environment and create spaces for ritual and politically charged performances. Setting her discussion in a broader context, Guernsey also considers how the Izapan style monuments helped to motivate and structure some of the dramatic, pan-regional developments of the Late Preclassic period, including the forging of a codified language of divine kingship. This pioneering investigation, which links monumental art to the matrices of political, economic, and supernatural exchange, offers an important new understanding of a region, time period, and group of monuments that played a key role in the history of Mesoamerica and continue to intrigue scholars within the field of Mesoamerican studies.
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Crucibles of Crisis: Performing Social Change (Theaterb--Stheory/Text/Performance)
Manufacturer: University of Michigan Press
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Book Description
Crucibles of Crisis gathers together critical essays that consider the potential of theater and dance to encourage and participate in social and political change. The authors address a variety of questions about the relationship between politics and culture, and examine the impact of the performing arts, as both catalyst and respondent, on twentieth-century society.
International in scope, yet at the same time sensitively grounded in the specific histories and geographies of their subjects, the collection discusses theater and performance in Northern Ireland, Mexico, East Germany, South Africa, Poland, Czechoslovakia, and the United States during the periods of the Harlem Renaissance and the 1960s. The book confronts fundamental questions about the relevance of the performing arts to issues of gender, race, and colonialism by examining specific examples from 1930s New York to the 1960s South, from Berlin to Johannesburg to Buenos Aires.
Crucibles of Crisis documents a wide variety of instances when the performing arts participated vigorously in social struggle, contributing to new social formations and leaving rich legacies for future artists and scholars. It argues for the renewed viability and vitality of performance as a tool for social transformation. At the same time, it reveals the limits on the claim of the performing arts to any privileged role in the production of culture--the boundaries of their potential to effect meaningful change.
Crucibles of Crisis should interest not only performance specialists but also historians, social theorists, and those engaged in seeking patterns of meaning in the production of culture.
The contributors are Lynne Conner, Gregg Dion, Harry Elam Jr., Loren Kruger, Anthony O'Brien, Patricia R. Schroeder, Katrin Sieg, Diana Taylor, Mary Trotter, Adam Versényi, and W. B. Worthen.
Janelle Reinelt is Chair of the Department of Dramatic Art and Dance, University of California-Davis, and has been coeditor of Theatre Journal. She is the author of After Brecht and coeditor of Critical Theory and Performance (with Joseph Roach) and The Performance of Power (with Sue-Ellen Case).
Book Description
During the patron saint fiesta in the Andean town of San Jerónimo, Peru, crowds gather at sunset in the town square, eagerly awaiting the entrance of the colorful dance troupes, or comparsas. With their masks, music, and surprising interpretations of contemporary events, the comparsas of the Cusco region are the focus of this multifaceted work. At the crossroads of folklore and ritual, mass media and local preferences, and regional and national identity, the comparsas—recorded here on video and compact disc—have become a powerful way for the local people to make sense of their place in Peru and in the world. As Zoila Mendoza shows, they do more than reflect societal changes, they actively transform society.
In this fluid world, she argues, racial and ethnic identities are shaped more by notions of what is decent, elegant, and modern rather than by skin color or status. As the different troupes vie for the townspeople's recognition as the most "authentic" group, these notions are challenged and reworked. A fascinating look at a rich tradition, this innovative work is also a compelling example of the critical anthropology of performance.
Customer Reviews:
Fascinating (and readable).......2000-09-20
I bought this book before going to Peru for a visit. I worried it would be a dull academic treatise but instead found it to be profound but fun and lively. The author clearly knows the subject well and transmits her enthusiasm and knowledge. I particularly enjoyed the sections on gender. If you are intrigued by religion in Latin American, or like world music and dance, you'll enjoy this book. The cd is a treat.
I know her, she's cool........2000-08-24
I spent much of this summer in the city of Cuzco, Peru, which is the capital of the depart. that is discussed at length. The book can be dense at times, but the rituals discussed are fascinating. I had the privilege to be tought by Zoila's husband during my trip and she would come to class and discuss the dances that we were going to see at the various festivals we visited. Highly recommended.
Book Description
Why was England the only country in Europe to maintain an all-male public theatre in the Renaissance? Stephen Orgel uses this question as the starting point of a fresh and stimulating exploration of the representation of gender in Elizabethan drama and society. Why were boys used to play female roles in drama, and how did such cross-dressing impact on the plays of Shakespeare and his contemporaries? What was the place of women in the Renaissance theatre, either on the stage or in the audience? And what did society make of those women who significantly and successfully violated accepted gender boundaries? At once provocative and witty, lucid and stylish, Impersonations will reshape our understanding of the Renaissance theatre, and make us rethink our own inadequate categories of gender, power and sexuality.
Book Description
A study of the lives of popular theater artists, Stigmas of the Tamil Stage is the first in-depth analysis of Special Drama, a genre of performance unique to the southernmost Indian state of Tamilnadu. Held in towns and villages throughout the region, Special Drama performances last from 10 p.m. until dawn. There are no theatrical troupes in Special Drama; individual artists are contracted âspeciallyâ for each event. The first two hours of each performance are filled with the kind of bawdy, improvisational comedy that is the primary focus of this study; the remaining hours present more markedly staid dramatic treatments of myth and history. Special Drama artists themselves are of all ages, castes, and ethnic and religious affiliations; the one common denominator in their lives is their lower-class status. Artists regularly speak of how poverty compelled their entrance into the field.
Special Drama is looked down upon by the middle- and upper-classes as too popular, too vulgar, and too âmixed.â The artists are stigmatized: people insult them in public and landlords refuse to rent to them. Stigma falls most heavily, however, on actresses, who are marked as âpublic womenâ by their participation in Special Drama. As Susan Seizer’s sensitive study shows, one of the primary ways the performers deal with such stigma is through humor and linguistic play. Their comedic performances in particular directly address questions of class, culture, and gender deviationsâthe very issues that so stigmatize them. Seizer draws on extensive interviews with performers, sponsors, audience members, and drama agents as well as on careful readings of live Special Drama performances in considering the complexities of performers’ lives both on stage and off.
Customer Reviews:
An excellent ethnography of a special performance genre.......2005-05-03
In the U.S. when we think of Tamil (South Indian) performance, most of us probably think of Bharata Natyam. I know I did. "Special Drama," the subject of Susan Seizer's book, is not well known abroad and it is not highly regarded at home, at least not by the Tamil middle class. It is, in a word that is central Seizer's analysis, stigmatized. She explains, "Special Drama is too mixed to be pure, too popular to be art, too modern to be traditional, and too village to be modern" (p. 11). Thus, Special Drama artists, and the female artists in particular, "are stigmatized for lacking what they and others often refer to as 'Tamil culture'" (p. 3). Of course, Special Drama artists do not lack culture, but the Tamil middle class denies that Special Drama deserves to be labelled "culture" (a word borrowed from English). More over, scholars in and out of India have slighted Special Drama by not paying it the attention that it deserves.
Special Drama is a remarkable performance genre. A Special Drama play is a loosely scripted, eight-hour long, all-night performance put on by actors and musicians who are hired separately. There are no rehearsals or directors and sometimes actors meet for the first time when they appear together on stage. Seizer focuses on the first two hours of a Special Drama, which are taken up by a bawdy comedy. That comedy is followed by a six-hour dramatic piece, which Seizer cites in order to provide context for her analysis of the comedy that precedes it.
In Part One, Seizer draws on oral history and a resourceful reading handbills to review a century of Special Drama history. She also explores the ways Special Drama artists manage their "spoiled identity" (following Erving Goffman), either by avoiding or embracing it. For example, a female artist can reduce the stigma attached to Special Drama in general by cross-dressing in order to perform the less stigmatized role of (male) Hero in the dramatic portion of the play, or she can gain fame by defying the rules of propriety that govern Special Drama.
In Part Two, Seizer analyzes three particular Special Drama scenes. Videos of the three scenes are available on-line at http://stigmasofthetamilstage.scrippscollege.edu/ and viewing them enhances reading the book, where each scene is carefully transcribed (in English translation). The first scene features the Buffoon, a self-deprecating comedian who takes the stage to tell of a series of mishaps involving his interactions with women. What is ingeniuos about the scene is that "the Buffoon manages to tell dirty jokes to a mixed audience and get away with it" (p. 177). Seizer discects the strategy by which the Buffoon gets away with it. Rather than tell a dirty joke to the audience, the Buffoon recounts to the audience -with asides to the on-stage musicians- various situations in which he could not say what was necessary because saying so would offend a woman. In the process he does in fact say what he is not allowed to say, and the women in the audience hear him say it. Taking issue with romanticized theories of transgression, Seizer argues that the Buffoon reinscribes the rules of mixed-gender discourse at the very moment at which he gets away with breaking them. Slippages between actors and their roles are at work in the other two scenes that Seizer analyzes. In "The Buffoon-Dance Duet" the improper meeting of two characters is the occasion for the characters and the actors who play them to comment on the impropriety not only of the female character's behavior but also of the behavior of the actress who players her. Seizer demonstrates that "the [female] Dancer's onstage persona is a mouthpiece for just the kind of social censure so often aimed at actresses offstage" (p. 215). The third of the three scenes is a comical (and thus particularly disturbing) depiction of domestic violence between a Husband and Wife. Again, there are slippages between actors and their roles, such as the Husband warning husbands not to pursue women who are like the actress who plays the Wife. The focus of Seizer's analysis, however, is on the audience. Drawing on Henri Bergson, Seizer argues that the audience's laughter serves as a mechanism of social control, provoking the Husband to prove his manliness by striking his defiant wife, and confirming that the now-subservient Wife got what she deserved.
Part Three focuses on the lives of Special Drama artists off stage. Here Seizer brings in the traditional ethnographic categories of language, spatial organization, and kinship. Again the focus is on how Special Drama artists manage stigma. For example, the artists' "insider tongue" confirms their outsider position but is also "a way of getting by, getting through, and getting away with some things" (p. 300), such as talking about real insiders. "Roadwork" refers to the artists' organization of space when they are on the road, for example, traveling to a gig. Here, drawing on the work of Judith Butler, Seizer observes that "Special Drama actresses struggle to conform to the dominant terms of gendered respectability, but in so doing, they subtly alter -by refiguring- these organizaing terms" (p. 329). Seizer identifies two kinship-related strategies artists use to manage stigma: marrying "across the boundaries of caste and community" (p. 346) and using kin terms as "a 'cover' for what might otherwise appear to be deviant" (p. 347). Seizer concludes that Special Drama artists strategies for managing stigma are "mostly effective" in the short term at making the social world more hospitable for artists, but "actresses still suffer the most" and their long-term prospects are worrisome.
I am a professor of anthropology and gender studies at a liberal arts college and I taught "Stigmas of the Tamil Stage" in an upper-level gender studies class. The book was a great success. It is a scholarly book, published by an academic press, and it makes contributions to scholarly debates that graduate students and professors will appreciate, but "Stigmas of the Tamil Stage" is also quite accessible to less theoretically sophisticated readers. Seizer uses theory but she does not flaunt it, and she is careful to define the anthropological and linguistic jargon and Tamil words she uses to advance her arguments. I foresee using the book for anthropology classes and I am sure it will also find a place in performance studies and Asian studies classes. For me, the great achievement of "Stigmas of the Tamil Stage" is the ethnographic attention to detail Seizer brings to performance studies. Ethnography is hot across disciplines these days, but many so-called "ethnographies," especially in performance studies and cultural studies, have little to do with the grand ethnographic tradition that includes Boas, Malinowski, and Mead. Seizer is clearly a well-trained and a gifted ethnographer. As a result, I find her interpretations of performances quite compelling and I find her book a model for what the ethnographic study of expressive culture should be.
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