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Performing the Wound: Practicing a F...

Tulk, Niki Ann.

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Performing the Wound: Practicing a Feminist Theatre of Becoming.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Performing the Wound: Practicing a Feminist Theatre of Becoming./
Author:	Tulk, Niki Ann.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2019,
Description:	261 p.
Notes:	Source: Dissertations Abstracts International, Volume: 81-04, Section: A.
Contained By:	Dissertations Abstracts International81-04A.
Subject:	Theater. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=13899161
ISBN:	9781085794749

Performing the Wound: Practicing a Feminist Theatre of Becoming.
Tulk, Niki Ann.

Performing the Wound: Practicing a Feminist Theatre of Becoming. - Ann Arbor : ProQuest Dissertations & Theses, 2019 - 261 p.

Source: Dissertations Abstracts International, Volume: 81-04, Section: A.

Thesis (Ph.D.)--University of Colorado at Boulder, 2019.

This item must not be sold to any third party vendors.

This dissertation offers a matrixial, feminist-centered analysis of trauma and performance. I examine the work of three artists: Ann Hamilton, Renee Green, and Cecilia Vicuna. Each artist engages in a multi-modal performance practice; this includes the use of site, embodied performance, material elements, and writing. Collectively, their work provides a rich and complex interface of different aesthetic modes with which they create work whose content is drawn from traumatic experience. Present in the particular works studied-and each involves content regarding trauma memory and recovery-is the strong sense of exploring the role of audience as witness/wit(h)ness. Each artist constructs a milieu around her art that invites rather than immerses, and this allows an audience to have agency, as well as multiple pathways into their engagement with the art. Additionally, these artists explore ways of facilitating an audience-performance relationship based on the concept of ethical witnessing, in which viewers are not positioned as voyeurs, nor made to risk re-traumatization by being forced to view traumatic events literally re-played on stage. This approach also allows agency to the art itself, in that an ethical space is created where the art is not objectified or looked at, but joined with. Foundational to my study are the writings of Bracha L. Ettinger, Jill Bennett and Diana Taylor-especially Ettinger's concept of the matrixial, carriance and border-linking. These artists and scholars present a capacity to expand and articulate answers to questions regarding how to make performance that remains compelling and truthful to the trauma experience, but not re-traumatizing. Finally, drawing on the work of these artists and theorists, I outline a series of qualities that may be utilized to develop a feminist poetics of performance around trauma-telling.

ISBN: 9781085794749Subjects--Topical Terms:

522973
Theater.

Performing the Wound: Practicing a Feminist Theatre of Becoming.
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245 1 0 $a Performing the Wound: Practicing a Feminist Theatre of Becoming.
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300 $a 261 p.
500 $a Source: Dissertations Abstracts International, Volume: 81-04, Section: A.
500 $a Advisor: Steuernagel, Marcos;Kreider, Kristen.
502 $a Thesis (Ph.D.)--University of Colorado at Boulder, 2019.
506 $a This item must not be sold to any third party vendors.
520 $a This dissertation offers a matrixial, feminist-centered analysis of trauma and performance. I examine the work of three artists: Ann Hamilton, Renee Green, and Cecilia Vicuna. Each artist engages in a multi-modal performance practice; this includes the use of site, embodied performance, material elements, and writing. Collectively, their work provides a rich and complex interface of different aesthetic modes with which they create work whose content is drawn from traumatic experience. Present in the particular works studied-and each involves content regarding trauma memory and recovery-is the strong sense of exploring the role of audience as witness/wit(h)ness. Each artist constructs a milieu around her art that invites rather than immerses, and this allows an audience to have agency, as well as multiple pathways into their engagement with the art. Additionally, these artists explore ways of facilitating an audience-performance relationship based on the concept of ethical witnessing, in which viewers are not positioned as voyeurs, nor made to risk re-traumatization by being forced to view traumatic events literally re-played on stage. This approach also allows agency to the art itself, in that an ethical space is created where the art is not objectified or looked at, but joined with. Foundational to my study are the writings of Bracha L. Ettinger, Jill Bennett and Diana Taylor-especially Ettinger's concept of the matrixial, carriance and border-linking. These artists and scholars present a capacity to expand and articulate answers to questions regarding how to make performance that remains compelling and truthful to the trauma experience, but not re-traumatizing. Finally, drawing on the work of these artists and theorists, I outline a series of qualities that may be utilized to develop a feminist poetics of performance around trauma-telling.
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