The Methuen Drama Companion to Performance Art

Title Page\nCopyright Page\nContents\nFigures\nAcknowledgments\nPart I: Introduction\n	Chapter 1.1: Squaring Performance Art\n		I Setting the Stage\n		II A Contrapuntal Arrangement\n		Notes\n		References\nPart II: Issues and Problems: Future Directions in Performance Art Research\n	Chapter 2.1: Reruns or New Turns\n		Communality of Performance Art\n		Reruns or New Turns\n		New Modalities of Spectatorship, Criticism, and Artist Agency\n		Notes\n		References\n	Chapter 2.2: Cross-disciplinarity and Antitheatrical Historiographies of Performance Art\n		Notes\n		References\nPart III: Essays\n	Chapter 3.1: How Performance Art Makes History: Artists’ Auto-histories of Happenings and Fluxus in the 1960s\n		Documenting Performance Art’s Histories: Accounting for Happenings\n		Diagramming Performance Art’s Histories: Mapping Fluxus\n		The “Tomorrow’s Pasts” of Performance Art\n		Notes\n		References\n	Chapter 3.2: Queer Performativity: A  Critical Genealogy of a Politics of Doing in Art Practice\n		Popular/Academic Discourses of Gender Performance or Queer Performativity\n		Tracing a Genealogy\n		Performativity in Linguistics, Philosophy, and Art: “Saying” (or Making) as Doing\n		Performativity and Queer/Feminist Performance and Theory\n		What is Queer? What is the Performative? What is Queer Performance?\n		What Can the Queer Performative Do for Us? Concluding Thoughts\n		Notes\n		References\n	Chapter 3.3: Taking Up Instructions for Becoming\n		Coda\n		Notes\n		References\n	Chapter 3.4: Caring for Black Corporealities: Experimental Black Performance\n		Notes\n		References\n	Chapter 3.5: Between Contemporary Art and Performance: Dramaturgy and Flow\n		Play, Performance, and Rethinking Experience in the Space of Art\n		The Complexity of Belonging\n		Dramaturgy: Visuality and Performance\n		Notes\n		References\n	Chapter 3.6: Acting Ethical: Performance Art Goes Public\n		Notes\n		References\n	Chapter 3.7: Compassionate Acts: Performance as Radical Care\n		Radical Intimacies\n		Methodologies of Care\n		The Space between Bodies\n		The Latitude of a Body\n		What Holds Us\n		Notes\n		References\n	Chapter 3.8: The Labor of the Artist, Feminist Practices, and Troubles with Infrastructure\n		I\n		II\n		Notes\n		References\n	Chapter 3.9: Gestural Study\n		Regimentation and Recording\n		The Affectory\n		The Coming Body Language\n		Open Ending\n		Notes\n		References\n	Chapter 3.10: Stomaching It: Testing Endurance in Black Performance Art\n		Notes\n		References\n	Chapter 3.11: Performative Bodies and Artists/Spectators: The Case of Radical Latina and Latin American Women Artists in Exhibition\n		Notes\n		References\n	Chapter 3.12: Framing Live Art\n		Notes\n		References\n	Chapter 3.13: From the Institution of Performance to the Performance of Institutions\n		The Fear of “Speculation”\n		Measuring Museums, or the Institution of Performance\n		The “Spectrality” of the Not-So-Live Arts\n		The Performance of Institutions\n		Notes\n		References\n	Chapter 3.14: Performance in the Age of the Technosphere\n		Life in the Technosphere\n		Mixing up Bodies\n		Immersion and the Technical Umwelt\n		The New Beings are Released or How Machines Experience\n		Algorithms Take Command\n		Unthought: The Birth of Microperformativity\n		Notes\n		References\nPart IV: Annotated Bibliography and Resources\n	Annotated Bibliography\n		1 Histories of Performance Art from Western Europe and North America\n		2 Global Performance: Histories and Theories at the Edge of the “West”\n		3 Performance at the Intersection of Feminism, Queerness, and Critical Race Studies\n		4 Biopolitics—Corporealities—Body Art—Endurance Art\n		5 Philosophies of Performance\n		6 Performance and the Participatory, Social, Public, AND Documentary\n		7 Performance and Intermediality, New Media, and Digital Culture\n		8 Reperformance and Archive; Performance/Dance in the Gallery; Curating Live Arts\n		9 Exhibition Catalogs\n		10 Online Resources and Archives\n		11 Journals and Magazines: Special Issues\nContributors\nIndex