The Methuen Drama Companion to Performance Art

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