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Performing world.

Levin, Laura Miriam.

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Performing world.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Performing world./
Author:	Levin, Laura Miriam.
Description:	324 p.
Notes:	Source: Dissertation Abstracts International, Volume: 66-08, Section: A, page: 2779.
Contained By:	Dissertation Abstracts International66-08A.
Subject:	Theater. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3187088
ISBN:	9780542289644

Performing world.
Levin, Laura Miriam.

Performing world. - 324 p.

Source: Dissertation Abstracts International, Volume: 66-08, Section: A, page: 2779.

Thesis (Ph.D.)--University of California, Berkeley, 2005.

In Performing World, I develop an alternative set of strategies for reading encounters between body and environment in contemporary performance. Drawing upon ideas of figure and ground in art criticism, I examine the formal dynamics of performance genres that have historically framed the human figure against the backdrop of a "world picture." Each genre that I examine presupposes a pictorial background---a realistic environment, a painted backdrop, a photographic projection, an architectural structure, a natural landscape. Using these backdrops as foils, artists have often reinforced a humanist tradition that positions man as an individual (figure) standing outside of and in opposition to his environment (ground). Thinking beyond this Cartesian model, I explore the political possibilities of "performing ground," a strategy in which the human body is made coextensive with its surroundings. While theater critics often view this as a troubling act of submission, I suggest that it can facilitate productive ways of inhabiting our material and social environments.

ISBN: 9780542289644Subjects--Topical Terms:

522973
Theater.

Performing world.
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100 1 $a Levin, Laura Miriam. $3 1909001
245 1 0 $a Performing world.
300 $a 324 p.
500 $a Source: Dissertation Abstracts International, Volume: 66-08, Section: A, page: 2779.
500 $a Chair: Shannon Jackson.
502 $a Thesis (Ph.D.)--University of California, Berkeley, 2005.
520 $a In Performing World, I develop an alternative set of strategies for reading encounters between body and environment in contemporary performance. Drawing upon ideas of figure and ground in art criticism, I examine the formal dynamics of performance genres that have historically framed the human figure against the backdrop of a "world picture." Each genre that I examine presupposes a pictorial background---a realistic environment, a painted backdrop, a photographic projection, an architectural structure, a natural landscape. Using these backdrops as foils, artists have often reinforced a humanist tradition that positions man as an individual (figure) standing outside of and in opposition to his environment (ground). Thinking beyond this Cartesian model, I explore the political possibilities of "performing ground," a strategy in which the human body is made coextensive with its surroundings. While theater critics often view this as a troubling act of submission, I suggest that it can facilitate productive ways of inhabiting our material and social environments.
520 $a Each chapter of my dissertation looks at a performance genre that exhibits a tension between self and setting, foreground and background. These include naturalist theater, solo performance, environmental performance, and photographic self-portraiture. Within these genres, I engage works of Canadian, American, and Latin American artists, including hyper-naturalist playwrights Judith Thompson and Sam Shepard; solo performers Guillermo Verdecchia, Guillermo Gomez-Pena, and Robert Lepage; site-specific artists Andrew Houston and Mierle Laderman Ukeles; and photographers Janieta Eyre and Cindy Sherman. My choice of artists speaks to a central goal of my project: to consider performance history in a wider North American frame. Rather than focusing on the originality of these artists' approaches to environment, I view them in a genealogical perspective, illuminating their precedents in early naturalism and surrealism. Returning to key moments in theater history---including the domestic dramas of the 19th and early 20th century, and the environmental theater of the 1960s---I ask what it means to read environment when women, people of color, and the working class often stand in as the stage background and are linked to the formal properties of space.
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856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3187088