Jon Foley Sherman - Academia.edu (original) (raw)
Papers by Jon Foley Sherman
Performance and Phenomenology: Traditions and Transformations, Apr 2015
From "Introduction" to the volume: "In 'Doing Time with the Neo-Futurists,' Jon Foley Sherman ... more From "Introduction" to the volume:
"In 'Doing Time with the Neo-Futurists,' Jon Foley Sherman approaches participatory performance by placing it in the context of Merleau-Ponty’s reflections on time. Merleau-Ponty began from the classic phenomenological perspective that time must be experienced by a consciousness in order to appear as time at all. From there, Merleau-Ponty sought to understand how time could appear to advance while we never leave the present. This brings him to a concept of time that continually advances while always remaining, so to speak, in the present. Foley Sherman proposes that Merleau-Ponty does not go far enough, and that time cannot be understood simply as the encounter of one consciousness with its experience of change and movement.
Foley Sherman takes as his subject the Chicago and New York Neo-Futurists, a company popularly known for their signature late night piece, 'Too Much Light Makes the Baby Go Blind,' in which they perform 30 plays in 60 minutes. Each week a random number of plays – determined by audience members rolling a dice – are ejected from the show and replaced with newly written and rehearsed pieces. Foley Sherman’s chapter investigates both the constraints of this format – in which the roughly two-minute time limit for each play produces particular temporal tensions – and a three-minute pause in darkness near the end of one of their 'primetime' shows, The Complete & Condensed Stage Directions of Eugene O’Neill, Volume 1: Early/Lost Plays. The performance of a pause by an entire audience provides the grounds from which to consider that time arrives through its performance with and for others. We 'do' time, but we never do it alone – there must always be someone present or imagined who can respond to our performance and provide us with the witness that creates time."
Performance Research, Dec 2011
New Theatre Quarterly, Aug 2010
Collective Creation in Contemporary Performance, 2013
Reviews by Jon Foley Sherman
Tdr the Drama Review, 2014
TDR: The Drama Review, Jan 1, 2009
Jane Goodall's newest book continues her previous project of tracking and analyzing the ... more Jane Goodall's newest book continues her previous project of tracking and analyzing the intersections of performance and science in the 19th century (2002). This time she narrows her topic and extends her timeframe by considering Western discourses on stage presence from the 17th ...
Theatre Journal, Jan 1, 2009
Page 1. Les Éphémères Jon Foley Sherman Theatre Journal, Volume 61, Number 1, March 2009, pp. 122... more Page 1. Les Éphémères Jon Foley Sherman Theatre Journal, Volume 61, Number 1, March 2009, pp. 122-124 (Review) Published by The Johns Hopkins University Press DOI: 10.1353/tj.0.0131 For additional information about this article ...
Theatre Journal, Jan 1, 2009
TDR: The Drama Review, Jan 1, 2008
Performance and Phenomenology: Traditions and Transformations, Apr 2015
From "Introduction" to the volume: "In 'Doing Time with the Neo-Futurists,' Jon Foley Sherman ... more From "Introduction" to the volume:
"In 'Doing Time with the Neo-Futurists,' Jon Foley Sherman approaches participatory performance by placing it in the context of Merleau-Ponty’s reflections on time. Merleau-Ponty began from the classic phenomenological perspective that time must be experienced by a consciousness in order to appear as time at all. From there, Merleau-Ponty sought to understand how time could appear to advance while we never leave the present. This brings him to a concept of time that continually advances while always remaining, so to speak, in the present. Foley Sherman proposes that Merleau-Ponty does not go far enough, and that time cannot be understood simply as the encounter of one consciousness with its experience of change and movement.
Foley Sherman takes as his subject the Chicago and New York Neo-Futurists, a company popularly known for their signature late night piece, 'Too Much Light Makes the Baby Go Blind,' in which they perform 30 plays in 60 minutes. Each week a random number of plays – determined by audience members rolling a dice – are ejected from the show and replaced with newly written and rehearsed pieces. Foley Sherman’s chapter investigates both the constraints of this format – in which the roughly two-minute time limit for each play produces particular temporal tensions – and a three-minute pause in darkness near the end of one of their 'primetime' shows, The Complete & Condensed Stage Directions of Eugene O’Neill, Volume 1: Early/Lost Plays. The performance of a pause by an entire audience provides the grounds from which to consider that time arrives through its performance with and for others. We 'do' time, but we never do it alone – there must always be someone present or imagined who can respond to our performance and provide us with the witness that creates time."
Performance Research, Dec 2011
New Theatre Quarterly, Aug 2010
Collective Creation in Contemporary Performance, 2013
Tdr the Drama Review, 2014
TDR: The Drama Review, Jan 1, 2009
Jane Goodall's newest book continues her previous project of tracking and analyzing the ... more Jane Goodall's newest book continues her previous project of tracking and analyzing the intersections of performance and science in the 19th century (2002). This time she narrows her topic and extends her timeframe by considering Western discourses on stage presence from the 17th ...
Theatre Journal, Jan 1, 2009
Page 1. Les Éphémères Jon Foley Sherman Theatre Journal, Volume 61, Number 1, March 2009, pp. 122... more Page 1. Les Éphémères Jon Foley Sherman Theatre Journal, Volume 61, Number 1, March 2009, pp. 122-124 (Review) Published by The Johns Hopkins University Press DOI: 10.1353/tj.0.0131 For additional information about this article ...
Theatre Journal, Jan 1, 2009
TDR: The Drama Review, Jan 1, 2008