Performance as Metaphor

States, Bert O.

doi:10.1086/aft.3.20711423

Cited by 13 publications

(15 citation statements)

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“…The ritual becomes weapon like and destructive by "challenging audience preconceptions." 33 This move to self-confrontation echoes Kirkwood's pronouncement of what a parable accomplishes.…”

Section: The Use Of Ritual In the Blacks: The Move Toward Performancementioning

confidence: 93%

“…I don't care!' " 33 When we examine Camus's view of defiance as that which helps create meaning in life, we will come to see the irony in Brantley's statement.…”

Section: Contemporary Scholarship On the Absurdmentioning

confidence: 99%

“…Three articles in the important special issue in Samuel Beckett Today all assert that, no matter what, there exists a constant quest for meaning in human existence. 33 Most important, as Jane Walling argues, is that this quest is performed on an individual basis, since there is no overarching meaning in this world. It is up to each individual, as Camus argues, to use reason to give his or her life purpose.…”

Section: Current Criticismmentioning

confidence: 99%

“…STANLEY screams. 33 Stanley's scream is the last we hear from Stanley other than various types of grunts. In a sense, this question-which came first, the chicken or the egg?-is the metaphorical question par excellence of absurd theatre.…”

Section: The Interrogation Scenementioning

confidence: 99%

“…That calms me down and relaxes me so I can forget." 33 Berenger-though he does not yet have an effective means to deal with the world, which does not offer him what he wants-is self-reflective and acknowledges the world for what it is and he understands his place in it. The first step, Camus argues, is to acknowledge the world for what it is.…”

Section: Berenger: the Sisyphean Heromentioning

confidence: 99%

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Reassessing the Theatre of the Absurd

Bennett¹

2011

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“…The ritual becomes weapon like and destructive by "challenging audience preconceptions." 33 This move to self-confrontation echoes Kirkwood's pronouncement of what a parable accomplishes.…”

Section: The Use Of Ritual In the Blacks: The Move Toward Performancementioning

confidence: 93%

“…I don't care!' " 33 When we examine Camus's view of defiance as that which helps create meaning in life, we will come to see the irony in Brantley's statement.…”

Section: Contemporary Scholarship On the Absurdmentioning

confidence: 99%

Section: Current Criticismmentioning

confidence: 99%

Section: The Interrogation Scenementioning

confidence: 99%

Section: Berenger: the Sisyphean Heromentioning

confidence: 99%

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Reassessing the Theatre of the Absurd

Bennett¹

2011

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Against Inclusivity: a Happy Heresy about Theory and Practice

Welton¹

2003

New Theatre Quarterly

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Should we suffer boredom in the theatre so long as it can be properly theorized? Dare performance stand alone, without hermeneutical crutches? What are the practicalities of practice-based research? And should we be scared of scare quotes? These are some of the questions asked by Martin Welton, tongue not so much in cheek as brazenly challenging some of the new orthodoxies of theatre studies. Martin Welton is a lecturer in Performance in the School of English and Drama at Queen Mary, University of London. His research interests include perception and performance, theatre and performance theory, actor training systems, and the South Indian martial art kalarippayattu. He also works as a performer, most recently with Sound and Fury Theatre Company, Emilyn Claid, and with his own company Darwin's Beard.

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Is the ‘Animal-Event’ Possible? Animal Precariousness and Moral Indeterminacy in Performance

Pefanis¹

2018

New Theatre Quarterly

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In this article, George P. Pefanis discusses two major aspects of the ‘event’, as formed and developed in late Derridean philosophy – namely, the ‘possibility of the impossible’ and the ‘experience of perhaps’. These aspects are examined in order to reveal the potential for precariousness and uncertainty engendered by performance art, as in the case of the animal-event. With its increased degree of indeterminacy and its projected singular, here-and-now character, performance art could leave open the way to the ‘other’, the unpredictable, and the unexpected that is the ‘animal-event’, since an animal can never be fully controlled or have its behaviour predicted by the theatre mechanism. Two performances are taken as case studies to demonstrate this: the emblematic I Like America and America Likes Me by Joseph Beuys (René Block Gallery, New York, 1974), and Dragon Heads by Marina Abramović (Museum of Modern Art, Oxford, 1990). It is argued that both cases pose certain moral issues around the presence of animals on the stage. George P. Pefanis is Associate Professor in the Department of Theatre Studies at the National and Kapodistreian University of Athens, and also teaches theatre and cinema history at the Open University of Greece and Cyprus. His publications include Adventures of Representation: Scenes of Theory II, Spectres of Theatre: Scenes of Theory III (both 2013) and Theatre Adherents and Philosophers (Athens, 2016). In 2006, he received the award for best book in the study of theatre for The Kingdom of Eugena (2005).

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Performance as Metaphor

Cited by 13 publications

References 0 publications

Reassessing the Theatre of the Absurd

Reassessing the Theatre of the Absurd

Against Inclusivity: a Happy Heresy about Theory and Practice

Is the ‘Animal-Event’ Possible? Animal Precariousness and Moral Indeterminacy in Performance

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