Reconstructing Performance Art (Routledge Advances in Theatre & Performance Studies)

Cover
Half Title
Series Page
Title Page
Copyright Page
Table of Contents
List of Contributors
Acknowledgments
Disclaimer
Introduction: On the Present of Past Performance: Investigating the Practices of Reconstructing and Representing Performance Art
Part I: Reframing the Past: Histories and Historiographies of Performance Art
	1 Mapping the Emerging Historiographies of Performance Art in East-Central Europe
	2 The 1968 Aesthetic and Political Radicalization in the Argentinian Avant-Garde
	3 Collective Memory and Live Art: The Methodology of Performance Chronicle Basel
	4 The Historical Roots of “Performative Theater”: The Italian Post-Avant-Garde
Part II: Unfolding the Action: Media and Documents of Performance Art
	5 How Records and Documents Become Art: The Role of Documentation in the Preservation, Exhibition and Experience of Performance Art
	6 Performance Documentation: Ephemerality, Temporality, Authenticity
	7 Book as Archive of Performance Art and Source Material of Its History
	8 Listening to the Histories of Performance Art
Part III: Representing Performance: Information, Collection, Reactivation
	9 Capturing Narrative and Data in Performance Art: The Joan Jonas Knowledge Base
	10 On the Long Road to Becoming a Matter of Course: Collecting Live Performances in Museums and Other Art Collections
	11 Making Movement Memorable: Tino Sehgal and Boris Charmatz at Tate
	12 Retrospective Remarks on Rose English, Mona Hatoum and Ana Mendieta: Where is Performance?
Index