Efnisyfirlit

• Cover
• Half Title
• Title Page
• Copyright Page
• Dedication Page
• CONTENTS
• Preface
• Acknowledgements
• Margin icons
• 1 WHAT IS PERFORMANCE?
• Introducing this book, this field, and me
• The boxes
• Defining performance
• The nine kinds of performances
• Restored behavior
• Caution, beware of generalizations
• As/is performance
• Make believe/make belief
• Blurry boundaries
• The seven functions of performance
• As/is and the broad spectrum, again
• Conclusions
• 2 WHAT IS PERFORMANCE STUDIES?
• Confounding categories, blurring boundaries
• Performance studies here, there, and everywhere
• Antecedents to performance studies
• The Victor Turner connection
• Ethical and political questions
• Conclusions
• 3 PERFORMANCE PROCESSES
• The performing arts as a model
• Performance process as a time-space sequence
• Rules, proto-performance, and public performance
• The performance quadrilogue
• From montage to virtual reality
• Experimental in one context, ordinary in another
• Conclusions
• 4 THE BROAD SPECTRUM OF PERFORMANCE
• From nonmatrixed performing to complex acting
• Realistic performing
• Brechtian performing
• Codified performing
• Codified performing and the avantgarde
• Ritualists, charisma, and presence
• Puppets and masks
• Hybrid performing
• Performing in everyday life
• Trials and executions as performance
• Surgery as performance
• Belief in the role one is playing
• How realistic is realistic acting?
• Conclusions
• 5 RITUAL
• Sacred and secular
• Human and animal rituals
• Trance
• Trance and shamanism
• Rites of passage, liminal, liminoid
• Communitas and anti-structure
• Ritual time and space
• Transportations and transformations
• Asemo’s initiation
• Social drama and ritual process
• The pig-kill at Kurumugl
• The efficacy-entertainment dyad
• Origin of performance: if not ritual, what?
• Changing rituals or inventing new ones
• Using rituals in theatre, dance, and music
• Conclusions
• 6 PLAY
• The joker in the deck
• What is play? What is playing?
• Play and games
• Seven ways to approach play
• Types of playing
• Play acts, play moods
• Flow, or experiencing playing
• Transitional objects, illusions, and culture
• Animal play
• The message, “this is play”
• Bateson’s Othello
• Blood games, blood rites
• Philosophies of play
• The bias against play
• Maya–lila
• Deep play, dark play
• Conclusions
• 7 PERFORMING IN THE PALEOLITHIC
• What is the paleolithic?
• Where is the art, and how old is it?
• Is it art?
• What was the cave art for?
• Vulvas, “venuses,” hybrids, women artists
• Performing in the caves
• Shamanic vision-quests
• Paleoperformance
• Lascaux online and replicated onsite
• Conclusions
• 8 PERFORMATIVITY
• A term hard to pin down
• Austin’s performative
• Speech acts
• From Survivor to EarthCam
• Postmodernism
• Simulation
• Poststructuralism/deconstruction
• The diffusion of poststructuralism
• Problems with poststructuralism
• Constructions of gender
• Constructions of race
• Performance art
• What the Gravedigger knew about the performative
• Conclusions
• 9 SOCIAL MEDIA
• Up, up, and away
• When and what?
• The network society
• Performing you on social media
• Second self or augmented self?
• The importance of interests
• From Goffman to web 2.0
• Big business, fake news, war
• POTUS @realDonaldTrump
• Change by means of social media
• Social media and the arts
• Conclusions
• 10 INTERCULTURAL AND GLOBAL PERFORMANCES
• Globalization’s throughline
• Intercultural performances
• Vertical performances
• Horizontal performances
• Fusions and hybrids
• Colonial mimicry and importing
• Applied performances
• Terrorist acts as applied global performances
• Tourist performances: leisure globalization
• Border wars
• The Olympics: globalism’s signature performance
• Conclusions
• Bibliography
• Index