Peggy Phelan - Böcker

The publication Twin Figure of Mimesis is a scripted journey through the landscape of performative mimetics. Written as a double bill, where a collection of essays meets a scripted version of a performative work, the book aims to discuss and problematize a platonic paradigm in performing arts, organising the world in truth and false, original and copy. Opposed to this, the texts address various alternative concepts of mimesis. Not the double as a more or less authentic copy of an original - only validated in its relation to a master signifier - but the double/figure/image as alterity; an autonomous “thing” existing in the world on its own premises. Suggesting this as the foundation for a new set of objectives, devoted to the production of alterity rather than of identity and identification, the essays reflect what would be a relevant tropology, apparatus and set of tools. The essays are written in dialogue with, and responded by, Goran Sergej Pristas, Bojana Cvejic, Benamin Noys and Peggy Phelan. Preface by Austin Gross. // Anders Paulin's book "The Twin Figure of Mimesis" expands the performances from the Three White Soldiers triology (2014-2018) into a broad theoretical discussion. The book is written by Anders in dialogue with Benjamin Noys, Bojana Cvejic, Peggy Phelan, Sergej Pristas och Austin Gross. What does theater really do when you remove representation and images? Can we understand this as a political problem and economic transaction? How can we think about the production and reproduction of images and ideas in a time of an accelerationist overflow of impressions? And how can we, going beyond these problems, come up with a mission and new tools for contemporary performing arts and its institutions? // svenska: Anders Paulins bok ”The Twin Figure of Mimesis” bygger ut föreställningarna i trilogin Three White Soldiers (2014-2018) till en bred konst-teoretisk diskussion. Boken är skriven av Anders i en dialog med Benjamin Noys, Bojana Cvejic, Peggy Phelan, Sergej Pristas och Austin Gross. Vad är det teatern gör när det avbildar/föreställer – egentligen? Kan vi förstå avbildningen som ett politiskt problem och ekonomisk transaktion? Hur kan vi tänka kring produktion och reproduktion av bilder och idéer i vår tids accelererande överflöd av intryck? Och hur kan vi utifrån dessa problem formulera uppdrag och verktyg för en samtida scenkonst och dess institutioner. // Introduction: This could be said to be the story about the Twin Figure of Mimesis. The mimetic figure Alterity is something as odd as a twin considerably older than its sibling. Alterity is a liberating figure born in the instant we model a copy of the world; a fetish, an image or a story. It is the intervention of fiction needed to dislodge reality from itself, in order to render it open for reflection, interpretation and imagery. The figure Identity is the younger twin, operating in the very end of the mimetic road. If Alterity works in the gap between reality and copy, the mission of Identity is the reappropriation of the figure. Where the older twin opens the gate for our gaze to probe into the potential of the un-knowable, the younger one closes it again in the name of Identification and Knowledge.

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.