Peggy Phelan – författare

Unmarked is a controversial analysis of the fraught relation between political and representational visibility in contemporary culture. Written from and for the Left, Unmarked rethinks the claims of visibility politics through a feminist psychoanalytic examination of specific performance texts - including photography, painting, film, theatre and anti-abortion demonstrations.

This is a book about the exhilaration and the catastrophe of embodiment. Analyzing different instances of injured bodies, Peggy Phelan considers what sustained attention to the affective force of trauma might yield for critical theory. Advocating what she calls "performative writing", she creates an extraordinary fusion of critical and creative thinking which erodes the distinction between art and theory, fact and fiction.The bodies she examines here include Christ's, as represented in Caravaggio's painting The Incredulity of St Thomas, Anita Hill's and Clarence Thomas's bodies as they were performed during the Senate hearings, the disinterred body of the Rose Theatre, exemplary bodies reconstructed through psychoanalytic talking cures, and the filmic bodies created by Tom Joslin, Mark Massi, and Peter Friedman in Silverlake Life: The View From Here.This new work by the highly-acclaimed author of Unmarked makes a stunning advance in performance theory in dialogue with psychoanalysis, queer theory, and cultural studies.

This is a book about the exhilaration and the catastrophe of embodiment. Analyzing different instances of injured bodies, Peggy Phelan considers what sustained attention to the affective force of trauma might yield for critical theory. Advocating what she calls "performative writing", she creates an extraordinary fusion of critical and creative thinking which erodes the distinction between art and theory, fact and fiction.The bodies she examines here include Christ's, as represented in Caravaggio's painting The Incredulity of St Thomas, Anita Hill's and Clarence Thomas's bodies as they were performed during the Senate hearings, the disinterred body of the Rose Theatre, exemplary bodies reconstructed through psychoanalytic talking cures, and the filmic bodies created by Tom Joslin, Mark Massi, and Peter Friedman in Silverlake Life: The View From Here.This new work by the highly-acclaimed author of Unmarked makes a stunning advance in performance theory in dialogue with psychoanalysis, queer theory, and cultural studies.

Live Art in LA: Performance Art in Southern California , 1970-1983 documents and critically examines one of the most fecund periods in the history of live art. The book forms part of the Getty Institute’s Pacific Standard Time initiative – a series of exhibitions, performance re-enactments and research projects focused on the greater Los Angeles area. This extraordinary volume, beautifully edited by one of the leading scholars in the field, makes vivid the compelling drama of performance history on the west coast.Live Art in LA: moves lucidly between discussions of legendary figures such as Judy Chicago and Chris Burden, and the crucial work of less-celebrated solo artists and collectives; examines the influence of key institutions, particularly Los Angeles Contemporary Exhibitions and the California Institute of the Arts – and the Feminist Art Programme established at the latter; features original and incisive essays by Peggy Phelan and Amelia Jones, and eloquent contributions by Michael Ned Holte, Suzanne Lacy and Jennifer Flores Sternad.Combining cutting-edge research with over 100 challenging and provocative photographs and video stills, Live Art in LA represents a major re-evaluation of a crucial moment in performance history. And, as performance studies becomes ever more relevant to the history of art, promises to become a vital and enduring resource for students, academics and artists alike.

Live Art in LA: Performance Art in Southern California , 1970-1983 documents and critically examines one of the most fecund periods in the history of live art. The book forms part of the Getty Institute’s Pacific Standard Time initiative – a series of exhibitions, performance re-enactments and research projects focused on the greater Los Angeles area. This extraordinary volume, beautifully edited by one of the leading scholars in the field, makes vivid the compelling drama of performance history on the west coast.Live Art in LA: moves lucidly between discussions of legendary figures such as Judy Chicago and Chris Burden, and the crucial work of less-celebrated solo artists and collectives; examines the influence of key institutions, particularly Los Angeles Contemporary Exhibitions and the California Institute of the Arts – and the Feminist Art Programme established at the latter; features original and incisive essays by Peggy Phelan and Amelia Jones, and eloquent contributions by Michael Ned Holte, Suzanne Lacy and Jennifer Flores Sternad.Combining cutting-edge research with over 100 challenging and provocative photographs and video stills, Live Art in LA represents a major re-evaluation of a crucial moment in performance history. And, as performance studies becomes ever more relevant to the history of art, promises to become a vital and enduring resource for students, academics and artists alike.

The first book-length introduction to and critical analysis of contemporary feminist performance, from Madonna to Karen Finley to Cherrie Moraga

A broad and inclusive volume of the celebrations and critiques of performance artsFocusing on the living arts—dance, theatre, music, performance art, ritual, and popular entertainment—performance studies expands our understanding of "performance" as both a vital artistic practice and a means by which to understand social and cultural processes. Bridging the gap between cultural studies, performing arts, and anthropology, performance studies explores myriad ways in which performance creates meaning and shapes our everyday lives.The broadest and most inclusive volume to date, The Ends of Performance both celebrates and critiques the institutionalization of the field. Only recently has the field given keen attention to the interpretive force and consequences of performance events, and it is these consequences that the The Ends of Performance articulates. Here performance studies illuminates the complex social and cultural formations of our time--the impact of virtual technology, the racialized discourses of legal and cultural citizenship, the impact of new medical discourses, and the medicalization of the body. Featuring work by leading theorists such as Joseph Roach, Diana Taylor, and Richard Schechner, excursions into performative writing by Eve Kosofsky Sedgwick and Della Pollock, and texts by performance artists Orlan and Deb Margolin, The Ends of Performance illuminates the provocative intellectual ends which motivate these varied approaches to performing writing, and to writing performance.

A broad and inclusive volume of the celebrations and critiques of performance artsFocusing on the living arts—dance, theatre, music, performance art, ritual, and popular entertainment—performance studies expands our understanding of "performance" as both a vital artistic practice and a means by which to understand social and cultural processes. Bridging the gap between cultural studies, performing arts, and anthropology, performance studies explores myriad ways in which performance creates meaning and shapes our everyday lives.The broadest and most inclusive volume to date, The Ends of Performance both celebrates and critiques the institutionalization of the field. Only recently has the field given keen attention to the interpretive force and consequences of performance events, and it is these consequences that the The Ends of Performance articulates. Here performance studies illuminates the complex social and cultural formations of our time--the impact of virtual technology, the racialized discourses of legal and cultural citizenship, the impact of new medical discourses, and the medicalization of the body. Featuring work by leading theorists such as Joseph Roach, Diana Taylor, and Richard Schechner, excursions into performative writing by Eve Kosofsky Sedgwick and Della Pollock, and texts by performance artists Orlan and Deb Margolin, The Ends of Performance illuminates the provocative intellectual ends which motivate these varied approaches to performing writing, and to writing performance.