Elizabeth Bell (Ph.D., University of Texas, 1983) has taught Performance Studies for thirty years in three departments of communication (University of Texas at Austin, University of North Carolina, and University of South Florida). Her graduate courses include Performance Theory, Feminism and Performance, Texts in Performance, and Performance of Nonfiction; undergraduate offerings are Oral Tradition (a theory-based, large lecture class), performance classes in literary genres (poetry, prose fiction, poetic drama), and group performance. She is the co-editor of From Mouse to Mermaid: The Politics of Film, Gender, and Culture (Indiana 1995).

Beautifully designed for an undergraduate audience in both content and layout.

• Chapter 1: Introducing Theories of PerformanceTheory in Perspective: Can You See the Forest for the Trees?What Is Theory?Theory Questions: What? Why? How?Kinds of Theory QuestionsAssumptions about How Language Operates in TheoryTwo Models of CommunicationPerformance as a Communicative FormAssumptions about Performance: Mimesis, Poiesis, and KinesisPerformance as a Key TermDefinitions of PerformanceClaims about Performance: Constitutive, Epistemic, and CriticalRethinking Theory and PerformanceChapter 2: Constituting PerformanceTheory in Perspective: What Makes a Performance?The "Nature" of PerformanceConstituting Performance through FramingConstituting the Performance Frame through KeyingConstituting Performance through the PerformerConstituting Performance through AudienceRethinking PerformanceChapter 3: Performing TextsTheory in Perspective: What Is a Text?Humans and Symbol Use: Text Me Later. OK?From Orality to the Page to the ScreenInterpreting the World as "Text"When Text Meets PerformanceDrama, Script, Theater, and PerformanceAssumptions about Texts: Canon, Textuality, and MaterialityInterpreting TextsText Versus PerformanceRethinking TextsChapter 4: Performing DramaTheory in Perspective: How Is the World a Stage?The Drama of a Roller Coaster RideReigning Metaphor: Life as DramaWhat Is Aristotelian Drama?Audience and Dramatic FormKenneth Burke′s Dramatism: Life Is DramaPerforming Tragic and Comic AttitudesFrom Dramatism to Social DramaAnalyzing Social DramasSocial Drama: Raw Material for PerformancesRethinking DramaChapter 5: Performing CultureTheory in Perspective: How Do Cultures Perform?What Is Culture?Approaches to Studying CultureFrom Studying "Man" to Theorizing Movement and PlayRites of Passage: Moving through CultureHomo Ludens/Playing ManCharacteristics of RitualRituals Are PerformedFrom Great Tradition to Cultural PerformanceThe "Performance Turn" in Study of CulturePerforming HistoryPerforming OthersRethinking CultureChapter 6: Performing Social RolesTheory in Perspective: Who Am I?Don′t Play Games with Me!"What′s Wrong?""What′s Right?"Teams: Performing TogetherRegions: Performing SpacesWhen Good Performances Go BadImpression ManagementMisrepresentationRole Distance and Discrepant RolesStigmas and "Spoiled" IdentitiesPassing Genders and RacesPerforming DisabilityRethinking Social RolesChapter 7: Performing IdentityTheory in Perspective: How Am I a Subject?Do Social Roles Assume a Foundational Self?Performativity′s Rejections and ProjectsPerformativity Project 1: Identity Constitution as Material and HistoricalPerformativity Project 2: A Strategy for Identity CritiqueFrom Philosophy to Speech Act to LawsPerformativity Project 3: A Political Practice of IdentityRethinking IdentityChapter 8: Performing ResistanceChapter 8: Performing ResistanceTheory in Perspective: How Can Performance Change the World?From Aristotle to PostmodernismBertolt Brecht on Performing ResistanceAlienation Effects of Epic TheaterBrechtian Techniques as Critical LensesFrom Brecht to BoalWhy Do People Take to the Streets? Models of ProtestPublic Events through an Aristotelian LensCarnival and ProtestFrom Traditional to Radical DramaturgyAnalyzing Protest Events as PerformancesThe Body Politic: How Do Bodies Intervene?Resistance in Everyday Life: Foucault′s Productive PowerResistance in Everyday Life: de Certeau′s Strategies and TacticsRethinking ResistanceChapter 9: Performing TechnologiesChapter 9: Performing TechnologyTheory in Perspective: What Exists?Caveat Emptor: Buyer Beware of Old and NewWhat Is Technology? Extending Human Bodies and PowersFrom Deus ex Machina to Flash Mobs: Extending, Enabling, and Accessing PerformancePerformance Presence: An OntologySix Types of Theatrical PresenceLosing the Aura of PresenceSimulacra: There Is No OriginalCyborg Bodies: Human and MachinePerforming CyborgsMusical Performance: Is it Live or Is It Memorex?Interactivity: From "Poke and See," Cyberpoetry, to Computer Art EnvironmentsReach Out and Perform Someone: Five Kinds of Mediated PresenceRethinking TechnologiesReferences

Elizabeth Bell (Ph.D., University of Texas, 1983) has taught Performance Studies for thirty years in three departments of communication (University of Texas at Austin, University of North Carolina, and University of South Florida). Her graduate courses include Performance Theory, Feminism and Performance, Texts in Performance, and Performance of Nonfiction; undergraduate offerings are Oral Tradition (a theory-based, large lecture class), performance classes in literary genres (poetry, prose fiction, poetic drama), and group performance. She is the co-editor of From Mouse to Mermaid: The Politics of Film, Gender, and Culture (Indiana 1995).

Beautifully designed for an undergraduate audience in both content and layout.

• Chapter 1: Introducing Theories of PerformanceTheory in Perspective: Can You See the Forest for the Trees?What Is Theory?Theory Questions: What? Why? How?Kinds of Theory QuestionsAssumptions about How Language Operates in TheoryTwo Models of CommunicationPerformance as a Communicative FormAssumptions about Performance: Mimesis, Poiesis, and KinesisPerformance as a Key TermDefinitions of PerformanceClaims about Performance: Constitutive, Epistemic, and CriticalRethinking Theory and PerformanceChapter 2: Constituting PerformanceTheory in Perspective: What Makes a Performance?The "Nature" of PerformanceConstituting Performance through FramingConstituting the Performance Frame through KeyingConstituting Performance through the PerformerConstituting Performance through AudienceRethinking PerformanceChapter 3: Performing TextsTheory in Perspective: What Is a Text?Humans and Symbol Use: Text Me Later. OK?From Orality to the Page to the ScreenInterpreting the World as "Text"When Text Meets PerformanceDrama, Script, Theater, and PerformanceAssumptions about Texts: Canon, Textuality, and MaterialityInterpreting TextsText Versus PerformanceRethinking TextsChapter 4: Performing DramaTheory in Perspective: How Is the World a Stage?The Drama of a Roller Coaster RideReigning Metaphor: Life as DramaWhat Is Aristotelian Drama?Audience and Dramatic FormKenneth Burke′s Dramatism: Life Is DramaPerforming Tragic and Comic AttitudesFrom Dramatism to Social DramaAnalyzing Social DramasSocial Drama: Raw Material for PerformancesRethinking DramaChapter 5: Performing CultureTheory in Perspective: How Do Cultures Perform?What Is Culture?Approaches to Studying CultureFrom Studying "Man" to Theorizing Movement and PlayRites of Passage: Moving through CultureHomo Ludens/Playing ManCharacteristics of RitualRituals Are PerformedFrom Great Tradition to Cultural PerformanceThe "Performance Turn" in Study of CulturePerforming HistoryPerforming OthersRethinking CultureChapter 6: Performing Social RolesTheory in Perspective: Who Am I?Don′t Play Games with Me!"What′s Wrong?""What′s Right?"Teams: Performing TogetherRegions: Performing SpacesWhen Good Performances Go BadImpression ManagementMisrepresentationRole Distance and Discrepant RolesStigmas and "Spoiled" IdentitiesPassing Genders and RacesPerforming DisabilityRethinking Social RolesChapter 7: Performing IdentityTheory in Perspective: How Am I a Subject?Do Social Roles Assume a Foundational Self?Performativity′s Rejections and ProjectsPerformativity Project 1: Identity Constitution as Material and HistoricalPerformativity Project 2: A Strategy for Identity CritiqueFrom Philosophy to Speech Act to LawsPerformativity Project 3: A Political Practice of IdentityRethinking IdentityChapter 8: Performing ResistanceChapter 8: Performing ResistanceTheory in Perspective: How Can Performance Change the World?From Aristotle to PostmodernismBertolt Brecht on Performing ResistanceAlienation Effects of Epic TheaterBrechtian Techniques as Critical LensesFrom Brecht to BoalWhy Do People Take to the Streets? Models of ProtestPublic Events through an Aristotelian LensCarnival and ProtestFrom Traditional to Radical DramaturgyAnalyzing Protest Events as PerformancesThe Body Politic: How Do Bodies Intervene?Resistance in Everyday Life: Foucault′s Productive PowerResistance in Everyday Life: de Certeau′s Strategies and TacticsRethinking ResistanceChapter 9: Performing TechnologiesChapter 9: Performing TechnologyTheory in Perspective: What Exists?Caveat Emptor: Buyer Beware of Old and NewWhat Is Technology? Extending Human Bodies and PowersFrom Deus ex Machina to Flash Mobs: Extending, Enabling, and Accessing PerformancePerformance Presence: An OntologySix Types of Theatrical PresenceLosing the Aura of PresenceSimulacra: There Is No OriginalCyborg Bodies: Human and MachinePerforming CyborgsMusical Performance: Is it Live or Is It Memorex?Interactivity: From "Poke and See," Cyberpoetry, to Computer Art EnvironmentsReach Out and Perform Someone: Five Kinds of Mediated PresenceRethinking TechnologiesReferences

Elizabeth Bell (Ph.D., University of Texas, 1983) has taught Performance Studies for thirty years in three departments of communication (University of Texas at Austin, University of North Carolina, and University of South Florida). Her graduate courses include Performance Theory, Feminism and Performance, Texts in Performance, and Performance of Nonfiction; undergraduate offerings are Oral Tradition (a theory-based, large lecture class), performance classes in literary genres (poetry, prose fiction, poetic drama), and group performance. She is the co-editor of From Mouse to Mermaid: The Politics of Film, Gender, and Culture (Indiana 1995).

Beautifully designed for an undergraduate audience in both content and layout.

• Chapter 1: Introducing Theories of PerformanceTheory in Perspective: Can You See the Forest for the Trees?What Is Theory?Theory Questions: What? Why? How?Kinds of Theory QuestionsAssumptions about How Language Operates in TheoryTwo Models of CommunicationPerformance as a Communicative FormAssumptions about Performance: Mimesis, Poiesis, and KinesisPerformance as a Key TermDefinitions of PerformanceClaims about Performance: Constitutive, Epistemic, and CriticalRethinking Theory and PerformanceChapter 2: Constituting PerformanceTheory in Perspective: What Makes a Performance?The "Nature" of PerformanceConstituting Performance through FramingConstituting the Performance Frame through KeyingConstituting Performance through the PerformerConstituting Performance through AudienceRethinking PerformanceChapter 3: Performing TextsTheory in Perspective: What Is a Text?Humans and Symbol Use: Text Me Later. OK?From Orality to the Page to the ScreenInterpreting the World as "Text"When Text Meets PerformanceDrama, Script, Theater, and PerformanceAssumptions about Texts: Canon, Textuality, and MaterialityInterpreting TextsText Versus PerformanceRethinking TextsChapter 4: Performing DramaTheory in Perspective: How Is the World a Stage?The Drama of a Roller Coaster RideReigning Metaphor: Life as DramaWhat Is Aristotelian Drama?Audience and Dramatic FormKenneth Burke′s Dramatism: Life Is DramaPerforming Tragic and Comic AttitudesFrom Dramatism to Social DramaAnalyzing Social DramasSocial Drama: Raw Material for PerformancesRethinking DramaChapter 5: Performing CultureTheory in Perspective: How Do Cultures Perform?What Is Culture?Approaches to Studying CultureFrom Studying "Man" to Theorizing Movement and PlayRites of Passage: Moving through CultureHomo Ludens/Playing ManCharacteristics of RitualRituals Are PerformedFrom Great Tradition to Cultural PerformanceThe "Performance Turn" in Study of CulturePerforming HistoryPerforming OthersRethinking CultureChapter 6: Performing Social RolesTheory in Perspective: Who Am I?Don′t Play Games with Me!"What′s Wrong?""What′s Right?"Teams: Performing TogetherRegions: Performing SpacesWhen Good Performances Go BadImpression ManagementMisrepresentationRole Distance and Discrepant RolesStigmas and "Spoiled" IdentitiesPassing Genders and RacesPerforming DisabilityRethinking Social RolesChapter 7: Performing IdentityTheory in Perspective: How Am I a Subject?Do Social Roles Assume a Foundational Self?Performativity′s Rejections and ProjectsPerformativity Project 1: Identity Constitution as Material and HistoricalPerformativity Project 2: A Strategy for Identity CritiqueFrom Philosophy to Speech Act to LawsPerformativity Project 3: A Political Practice of IdentityRethinking IdentityChapter 8: Performing ResistanceChapter 8: Performing ResistanceTheory in Perspective: How Can Performance Change the World?From Aristotle to PostmodernismBertolt Brecht on Performing ResistanceAlienation Effects of Epic TheaterBrechtian Techniques as Critical LensesFrom Brecht to BoalWhy Do People Take to the Streets? Models of ProtestPublic Events through an Aristotelian LensCarnival and ProtestFrom Traditional to Radical DramaturgyAnalyzing Protest Events as PerformancesThe Body Politic: How Do Bodies Intervene?Resistance in Everyday Life: Foucault′s Productive PowerResistance in Everyday Life: de Certeau′s Strategies and TacticsRethinking ResistanceChapter 9: Performing TechnologiesChapter 9: Performing TechnologyTheory in Perspective: What Exists?Caveat Emptor: Buyer Beware of Old and NewWhat Is Technology? Extending Human Bodies and PowersFrom Deus ex Machina to Flash Mobs: Extending, Enabling, and Accessing PerformancePerformance Presence: An OntologySix Types of Theatrical PresenceLosing the Aura of PresenceSimulacra: There Is No OriginalCyborg Bodies: Human and MachinePerforming CyborgsMusical Performance: Is it Live or Is It Memorex?Interactivity: From "Poke and See," Cyberpoetry, to Computer Art EnvironmentsReach Out and Perform Someone: Five Kinds of Mediated PresenceRethinking TechnologiesReferences