Sara Brady – författare

Since its first publication in 2004, The Performance Studies Reader has become the leading anthology of key writings on performance studies. Now in its fourth edition, it continues to offer an unparalleled selection of work by the foremost scholars in this continually evolving field, offering a stimulating introduction to the crucial debates of Performance Studies.

These critical and theoretical contributions are joined in this edition by 26 new chapters, bringing the collection up to date with current discourse and ideas, and significantly expanding the range of subjects and authors represented. Each essay includes contextual headnotes from the editors, to introduce students to the writer and their impact on the field. Newly added to this edition are contributions from Swati Arora; Sara Ahmed; Sarah Bay-Cheng; Claire Bishop; Felipe Cervera, Theron Schmidt, and Hannah Schwadron; Anita E. Cherian and Gargi Bharadwaj; Thomas F. DeFrantz/SLIPPAGE; Soyica Diggs Colbert; Tracy C. Davis; Saidiya V. Hartman; Travis Jackson; Branislav Jakovljević; Ailton Krenak; André Lepecki; Fred Moten; José Esteban Muñoz; Tavia Nyong''o; Tamara Searle; Stephanie Nohelani Teves; and McKenzie Wark.

This new edition of The Performance Studies Reader provides an overview of the full range of performance theory for undergraduates at all levels, and beginning graduate students in Performance Studies, theatre, performing arts, and cultural studies.

Since its first publication in 2004, The Performance Studies Reader has become the leading anthology of key writings on performance studies. Now in its fourth edition, it continues to offer an unparalleled selection of work by the foremost scholars in this continually evolving field, offering a stimulating introduction to the crucial debates of Performance Studies.

These critical and theoretical contributions are joined in this edition by 26 new chapters, bringing the collection up to date with current discourse and ideas, and significantly expanding the range of subjects and authors represented. Each essay includes contextual headnotes from the editors, to introduce students to the writer and their impact on the field. Newly added to this edition are contributions from Swati Arora; Sara Ahmed; Sarah Bay-Cheng; Claire Bishop; Felipe Cervera, Theron Schmidt, and Hannah Schwadron; Anita E. Cherian and Gargi Bharadwaj; Thomas F. DeFrantz/SLIPPAGE; Soyica Diggs Colbert; Tracy C. Davis; Saidiya V. Hartman; Travis Jackson; Branislav Jakovljević; Ailton Krenak; André Lepecki; Fred Moten; José Esteban Muñoz; Tavia Nyong''o; Tamara Searle; Stephanie Nohelani Teves; and McKenzie Wark.

This new edition of The Performance Studies Reader provides an overview of the full range of performance theory for undergraduates at all levels, and beginning graduate students in Performance Studies, theatre, performing arts, and cultural studies.

The long cultural moment that arose in the wake of 9/11 and the conflict in the Middle East has fostered a global wave of surveillance and counterinsurgency. Performance in a Militarized Culture explores the ways in which we experience this new status quo. Addressing the most commonplace of everyday interactions, from mobile phone calls to traffic cameras, this edited collection considers:

Performance in a Militarized Culture draws on performances from North, Central, and South America; Europe; the Middle East; and Asia to chronicle a range of experience: from those who live under a daily threat of terrorism, to others who live with a distant, imagined fear of such danger.

The long cultural moment that arose in the wake of 9/11 and the conflict in the Middle East has fostered a global wave of surveillance and counterinsurgency. Performance in a Militarized Culture explores the ways in which we experience this new status quo. Addressing the most commonplace of everyday interactions, from mobile phone calls to traffic cameras, this edited collection considers:

Performance in a Militarized Culture draws on performances from North, Central, and South America; Europe; the Middle East; and Asia to chronicle a range of experience: from those who live under a daily threat of terrorism, to others who live with a distant, imagined fear of such danger.