MICHAEL PRAETORIUS'S VARIABLE OPINIONS ON PERFORMANCE (original) (raw)
Related papers
Editorial: Performance Philosophy, Vol 2, No 2
2017
This editorial has been composed out of contributions received from an open call for writing in response to 's inaugural with the constraint that responses had to be in the form of a single sentence. All submitted contributions have been included; collated by Laura Cull Ó Maoilearca, with individual authors listed in the endnotes below. The name has been redacted whenever it appeared in the text. Thank you to everyone who contributed. Una mattina mi son svegliato o bella ciao bella ciao bella ciao ciao ciao una mattina, mi son svegliato, e ho trovato l'invasor 1 I am not watching you. 2 I chose not to watch the inauguration of a man I refuse to name since performances only have power if they are watched and validated. 3 [APPLAUSE]
what does it have to do with the ancient quarrel between philosophy and poetry? This is what the two argumentative movements in this article will attempt to make clear. What motivates these arguments is a conviction that there exists an equation, or strong commonality, between poetry as it was conceived by the ancients, literature as it was theorised in the latter half of the twentieth century, and performance as it might be understood today. First, it will be argued that from our perspective it is more appropriate to understand the ancient quarrel as being between philosophy and performance. Second, it will be proposed that the principle of performance that Plato objected to is at the heart of an influential contemporary understanding of literature, and
EVERY TEXT IS A PERFORMANCE: A PRE-HISTORY OF PERFORMANCE PHILOSOPHY
In American Drama: The Bastard Art, a study of the role that antitheatrical prejudice has played in the formation of the American dramatic canon, Susan Harris Smith draws attention to a curious exchange that happened in the pages of Educational Theatre Journal during the 1950s. In a series of articles and letters that spanned multiple years, sides were drawn between those, in the words of the debates' participants, "who respect a play only for… ideas which can be analyzed philosophically" and those who saw theatre instead as an "art of performance" (Smith 1997, 150-51). For Smith, the main point of interest in this dialogue is the contentiousness over the very idea of drama's place in the academy and the disagreements over its proper position. But looking from a perspective aligned with the interests of performance philosophy, what is equally intriguing is the way in which those assertions of merit that do surface within the discussion are divided between camps that are seen as mutually opposed and incommensurable: there is the text and there is the performance, the one an art of ideas and the other an art of perception and emotion. Within the dialogue that Smith chronicles, it is strongly asserted by some discussants that dramatic material has a philosophical purpose-yet that purpose is not extended to the performance of the same plays. Performance here represents a kind of endpoint to philosophy: open up a text to staging and its larger intellectual resonances are sure to disappear. From the standpoint of these mid-century academics, the issue is not that drama cannot function philosophically; it is that performance supposedly cannot. Or, put another way: a text can sustain philosophical investigation, but not a stage.
An bheochan agus an ‘performance’ i dtraidisiúin na hÉireann
[English-language summary] Is there a particularly Irish culture of performance? I suggest that there is – the defining feature of which is the role played by alterity - the living presence of an “other" in performance. This “other” is usually a person or persons, the being of whom is felt to be immanent in the material performed. Performance thus has a strong element of animation. Following the lead of Gary Gossen, for whom Chamula oral traditon constituted an “ethical statement”, I argue that Irish tradition also carries an implicit ethics, as can often be seen from performers’ statements about what they do. Scholars such as Silvio, Manning, and Gershon have been re-examining the term “performance” itself, showing its cultural and historical boundedness. I suggest that Irish tradition be likewise re-examined in the light of these theoretical developments.
Performance Studies: Here, There, Then, Now (Eds; 2017)
About Performance special issue, 2017
This year, About Performance celebrates thirty years of the teaching of performance studies in the Faculty of Arts and Social Sciences, the University of Sydney—the journal’s home. To mark the occasion, we have produced a special issue, a double issue, with an oversized sixteen articles. There have been thirteen issues of About Performance to date. The rst appeared in 1995, and each edition has collected its papers around a special theme. Successive editors have explored the lives of actors (no. 13), risk and performance (no. 12), movement (no. 11), audiences (no. 10), politics and performance (no. 9), photography as/of performance (no. 8), site- speci c theatre (no. 7), rehearsal studies (no. 6), Body Weather (no. 5), performance analysis (no. 4), theatre (no. 3), crosscultural performance (no. 2), and translation (no. 1). Upcoming issues of About Performance, currently in the works, are on fashion, phenomenology, medicine, and the history of emotions. Although this anniversary issue, Performance Studies: Here, There, Then, Now, has no speci c organisational theme, there are two things that bring the edition together: the subjects explored in each paper follow in the theoretical and methodological veins of our catalogue to date, adding to an image of the discipline as About Performance has explored it; and each papers’ author has had, and in many cases continues to have, an association with the Department of Theatre and Performance Studies at the University of Sydney. There are papers from established and emerging scholars: former and current students, visiting fellows, current and former academic staff, as well as research and artistic associates.
Review: Text and Tradition in Performance and Writing
Review of Biblical Literature, 2020
Everybody loves an underdog, or so it is said. From the defeat of the heavily favored USSR Olympic hockey team by an amateur squad from the USA at Lack Placid in 1980 to movies such as Rocky and Rudy, stories about those who win in the face of overwhelming odds are deeply satisfying to sports fans and theater goers alike. It is easy to see why. Not only do such narratives validate the idea that anything is possible, but they run counter to the prevailing wisdom that only the strongest and most well established will be victorious. On those rare occasions, however, when the unexpected happens and the small fry prevails, traditional ways of thinking are challenged, thought worlds reshaped. In the field of biblical studies, those who defend and promote the central place of orality and performance in the compositional history of biblical literature are the perennial underdogs. By contrast, the reigning champions are those who have elevated the significance and importance of Ur-texts, Endtexts, and the written word above all else. But, as publications such as Richard Horsley's Text and Tradition in Performance and Writing have shown, the tide is turning. While Horsley is no doubt correct when he says that the "implications of oral communication as the medium in which New Testament texts originated will be resisted" (29), it is no longer a question of if the underdogs will win but when.
Editorial 2.2 - Performance Philosophy journal
This editorial has been composed out of contributions received from an open call for writing in response to 's inaugural with the constraint that responses had to be in the form of a single sentence. All submitted contributions have been included; collated by Laura Cull Ó Maoilearca, with individual authors listed in the endnotes below. The name has been redacted whenever it appeared in the text. Thank you to everyone who contributed. Una mattina mi son svegliato o bella ciao bella ciao bella ciao ciao ciao una mattina, mi son svegliato, e ho trovato l'invasor 1 I am not watching you. 2 I chose not to watch the inauguration of a man I refuse to name since performances only have power if they are watched and validated. 3 [APPLAUSE]