Performance and Theatricality: The Subject Demystified

Féral, Josette; Lyons, Terese

doi:10.1353/mdr.1982.0036

Cited by 26 publications

(10 citation statements)

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“…It is therefore important to understand abuse as performance—an embodied expressive practice (Féral, 1982; also Chow, 2012)—shaped by the mutually influencing domains of global cyber media and historically inflected national political cultures. To approach abuse as performance suggests that we take an agnostic approach to the “Internet’s City of Words,” where the boundaries between the ludic, intimidating, and disruptive absurdity intertwine in such a way that their political consequences cannot be traced in all aspects if the question is foreclosed with a predetermined normativity on abuse exchange.…”

Section: Abuse: Between Control and Heteroglossiamentioning

confidence: 99%

Gaali cultures: The politics of abusive exchange on social media

Udupa¹

2017

New Media & Society

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On the rapidly expanding social media in India, online users are witness to a routine exchange of abusive terms and accusations with choicest swearwords hurled even for the seemingly non-inflammatory political debates. This article draws upon anthropology of insult to uncover the distinctness, if at all, of online abuse as a means for political participation as well as for the encumbering it provokes and relations of domination it reproduces as a result. In so doing, the article critiques the conception of ludic as anti-hegemonic in the Bakhtin tradition, and develops an emic term “gaali” to signal the blurred boundaries between comedy, insult, shame, and abuse emerging on online media, which also incite gendered forms of intimidation. Gaali, it argues, is best conceptualized through the metaphor of “sound” as distinct from what recent new media studies theorize as “voice.”

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Section: Abuse: Between Control and Heteroglossiamentioning

confidence: 99%

Gaali cultures: The politics of abusive exchange on social media

Udupa¹

2017

New Media & Society

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“…6 This is something new in the history of Western theatre, even though the art of animating objects is as old as humankind. The transition between the human actor and the object actor (a prop, costume or set, human or non-human) on a theatre stage is gradual (Veltrusky 1964), and the equality between the elements seems to be even more of a given in performance art (Féral 1982). However, anyone who is interested in the relation between the performer's body and non-human entities cannot ignore the question of the way of being of a marionette, that anthropomorphic or humanoid scenic object.…”

Section: The Body Between the Object And The Marionettementioning

confidence: 99%

Joints and Strings: On the Anatomy of the Performing Body

Kirkkopelto¹

2016

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This article concerns the ontological status of the performing body. What if it were not considered derivative in relation to any kind of discursive construction or any kind of pre-existent materiality or force? What if it were taken as a starting point of our attempts to understand the linguistic and material aspects of our bodily co-existence? If so, our ideas of what a body can do while performing, and what it consists of, have to change radically. The anatomy of the performing body is studied through a series of scenic experiments and practical examples, and the argumentation rests on the evidence thus provided. On the philosophical level the discussion focuses on ’object-oriented ontology’ and its representatives. The indications are that our understanding of objects, objectivity and things in general is based on our understanding of bodies as linguistic entities. Becoming a performing body means becoming a linguistic body, and vice versa. This does not take us back to ‘transcendentalism’ or ‘correlationism’, however. The equality of all things, claimed by ‘ooo’ proponents, can only be achieved via the medium of the performing body as an equalizing instance.

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“…Um exercício, que, talvez, igualmente não seja relevante nos dias atuais. Na época dos escritos de Krauss, outro tipo de discussão tomou lugar no âmbito do teatro, criando uma oposição entre teatralidade e performance (Féral, 1982), relacionada à oposição entre representação e presentificação em instalações de vídeo (Morse, 1993). Assim, desde então, em parte devido ao desenvolvimento dos estudos da performance (Carlson, 1996;Mckenzie, 2001;Schechner, 2006), poder-se-ia dizer que a performance se desenvolveu dentro do campo expandido do teatro.…”

Section: O Campo Expandido?unclassified

The Steaming Earth

Arlander

2016

ARJ

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The text presents the method developed by the author, called performing landscape, and discusses it in the context of the expanded field in performing arts. If we consider ourselves as earthlings, citizens of the planet earth, the question of meaningful performance practices can be approached inclusively. As citizens we are in relation to a city or society, as a site, too; as earthlings we are related to all beings living here, and to the earth. The essay takes as a starting point Elisabeth Grosz’s study Chaos, Territory, Art (2008), in which she develops new ways of addressing and thinking about the arts and the forces they enact and transform. She suggests that arts frame or compose chaos so that sensation can proliferate; they transform materials of the past into resources of the future.

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Performance and Theatricality: The Subject Demystified

Cited by 26 publications

References 0 publications

Gaali cultures: The politics of abusive exchange on social media

Gaali cultures: The politics of abusive exchange on social media

Joints and Strings: On the Anatomy of the Performing Body

The Steaming Earth

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