So Close to Burning: Intermedia and Documentary Solo Performance in Juan and John (1965)

Works Cited

• Barthes, Roland. Camera Lucida: Reflections on Photography. Trans. Richard Howard. New York: Hill & Wang, 1981.
   Google Scholar
• Benjamin, Walter. “The Work of Art in the Age of Mechanical Reproduction.” Illuminations. 1936. Trans. Harry Zohn. Ed. Hannah Arendt. New York: Harcourt, 1968.
   Google Scholar
• Berger, John. John Berger: Selected Essays. Ed. Geoff Dyer. New York: Pantheon, 2001.
   Google Scholar
• Blanchot, Maurice. The Work of Fire. Trans. Charlotte Mandell. Stanford, CA: Stanford UP, 1995.
   Google Scholar
• Bonney, Jo. Extreme Exposure: An Anthology of Performance Texts from the Twentieth Century. New York: Theatre Communications, 2000.
   Google Scholar
• Brunette, Peter, and David Wills, eds. “The Spatial Arts: An Interview with Jacques Derrida.” Deconstruction and the Visual Arts: Art, Media, Architecture. Cambridge: Cambridge UP, 1994. 9–32.
   Google Scholar
• Burke, Ryan. “Photo Coverage: Juan and John at the Public.” BroadwayWorld. Wisdom Digital Media, 7 Dec. 2009. Web. 10 Dec. 2009.
   Google Scholar
• Carmichael, Stokely. “Toward Black Liberation.” The Massachusetts Review 7.4 (1966): 639–51.
   Google Scholar
• Debord, Guy. “The Decline and Fall of the Spectacle-Commodity Economy.” Trans. Donald-Nicholson Smith and Ken Knabb. Situationist International Online, 1965. Web. 2 2Feb. 2004.
   Google Scholar
• Derrida, Jacques. Athens, Still Remains: The Photographs of Jean-François Bonhomme. Trans. Pascale-Anne Brault and Michael Naas. New York: Fordham UP, 2010.
   Google Scholar
• Derrida, Jacques. The Truth in Painting. Trans. Geoffrey Bennington and Ian McLeod. Chicago: U of Chicago P, 1987.
   Google Scholar
• Derrida, Jacques, and Bernard Stiegler. Echographies of Television: Filmed Interviews. Trans. Jennifer Bajorek. Cambridge: Polity, 2002.
   Google Scholar
• Edwards, Harry. The Revolt of the Black Athlete. New York: Free P, 1970.
   Google Scholar
• Feldman, Allen. Formations of Violence: The Narrative of the Body and Political Terror in Northern Ireland. Chicago: U of Chicago P, 1991.
   Google Scholar
• Flood, Curt. The Way It Is. With Richard Carter. New York: Trident, 1971.
   Google Scholar
• Fusco, Coco, and Roger Guenveur Smith. “Roger Guenveur Smith.” Bomb 60 (1997): 60–64.
   Google Scholar
• Gagnier, Robert. “Rodney King: A Postmortem Interview as Told by Obie Award Winner Roger Guenveur Smith.” The Huffington Post. TheHuffingtonPost.com, 23 Oct. 2013. Web. 4 Nov. 2013.
   Google Scholar
• Gerlach, Larry R. “Crime and Punishment: The Marichal–Roseboro Incident.” NINE: A Journal of Baseball History and Culture 12.2 (2004): 1–28. 10.1353/nin.2004.0014
   Google Scholar
• Gray, Spalding. Swimming to Cambodia. New York: Theatre Communications, 1985.
   Google Scholar
• Harney, Stefano, and Fred Moten. The Undercommons: Fugitive Planning and Black Study. New York: Minor Compositions, 2013.
   Google Scholar
• Hartman, Saidiya V. Scenes of Subjection: Terror, Slavery, and Self-making in Nineteenth-century America. Oxford: Oxford UP, 1997.
   Google Scholar
• Harvey, David. A Brief History of Neoliberalism. Oxford: Oxford UP, 2005.
   Google Scholar
• Higgins, Dick. “Intermedia.” Something Else Newsletter 1.1 (1965): 1–6.
   Google Scholar
• Hirsch, Marianne. “The Generation of Postmemory.” Poetics Today 29.1 (2008): 103–28. 10.1215/03335372-2007-019
   Web of Science ®Google Scholar
• Hirsch, Marianne. “Surviving Images: Holocaust Photographs and the Work of Postmemory.” The Yale Journal of Criticism 14.1 (2001): 5–37. 10.1353/yale.2001.0008
   Google Scholar
• Hoffarth, Tom. “The Hope that ‘Juan and John’ Isn't One and Done in L. A. by Roger Guenveur Smith.” Farther off the Wall with Tom Hoffarth. insidesocial.com, 28 May 2011. Web. 10 Jul. 2011.
   Google Scholar
• Hughes, Holly, and David Román. O Solo Homo: The New Queer Performance. New York: Grove, 1998.
   Google Scholar
• Jones, Amelia. “‘Presence’ in Absentia: Experiencing Performance as Documentation.” Art Journal 56.4 (1997): 11–18. 10.2307/777715
   Web of Science ®Google Scholar
• Juan and John. By and perf. Roger Guenveur Smith. Joseph Papp Public Theatre, New York. 1–20 Dec. 2009. Kirk Douglas Theatre, Los Angeles. 17–19 May 2011. Performance.
   Google Scholar
• Kalb, Jonathan. “Documentary Solo Performance: The Politics of the Mirrored Self.” Theater 31.3 (2001): 13–29. 10.1215/01610775-31-3-13
   Google Scholar
• Kuhn, Bowie. Hardball: The Education of a Baseball Commissioner. Ed. Asst. Martin Appel. Lincoln, NE: Bison, 1997.
   Google Scholar
• Le Goff, Jacques. History and Memory. Trans. Steven Rendall and Elizabeth Claman. New York: Columbia UP, 1992.
   Google Scholar
• Marichal, Juan. Juan Marichal: My Journey from the Dominican Republic to Cooperstown. With Lew Freedman. Minneapolis, MN: MVP Books, 2011.
   Google Scholar
• Martin, Carol. “Bodies of Evidence.” TDR: The Drama Review 50.3 (2006): 8–15. 10.1162/dram.2006.50.3.8
   Web of Science ®Google Scholar
• Mitchell, W. J. T. Picture Theory: Essays on Verbal and Visual Representation. Chicago: U of Chicago P, 1994.
   Google Scholar
• Mitchell, W. J. T.. What Do Pictures Want? The Lives and Loves of Images. Chicago: U of Chicago P, 2006.
   Google Scholar
• Moten, Fred. In the Break: The Aesthetics of the Black Radical Tradition. Minneapolis: U of Minnesota P, 2003.
   Google Scholar
• Moten, Fred. “Magic of Objects.” Callaloo 26.1 (2003): 109–11. 10.1353/cal.2003.0022
   Web of Science ®Google Scholar
• Nielsen, Lara D. “Introduction: Heterotopic Transformations: The (Il)liberal Neoliberal.” Neoliberalism and Global Theatres: Performance Permutations. Ed. Lara D. Nielsen and Patricia Ybarra. New York: Palgrave, 2012. 1–21.
   Google Scholar
• Nielsen, Lara D.. “The Riddle of Labor and Performance.” Forthcoming.
   Google Scholar
• Oliver, Valerie Cassel, cur. Radical Presence: Black Performance in Contemporary Art. Grey Art Gallery, New York University. 10 Sept. 2013–9 Mar. 2014. Exhibition.
   Google Scholar
• Piper, Adrian. “The Mythic Being; I/You (Her) (1974).” Art in Our Time: 1950 to the Present. Walker Art Center, Minneapolis, MN. 5 Sep. 1999–2 Sep. 2001. Exhibition. Web. 21 Jul. 2012. <http://www.walkerart.org/collections/artworks/the-mythic-being-i-slash-you-her>.
   Google Scholar
• Pollock, Della, ed. Remembering: Oral History Performance. New York: Palgrave, 2005.
   Google Scholar
• Portelli, Alessandro. “What Makes Oral History Different.” The Oral History Reader. 2nd ed. Ed. Robert Perks and Alistair Thomson. New York: Routledge, 2006. 32–42.
   Google Scholar
• Reason, Matthew. Documentation, Disappearance and the Representation of Live Performance. New York: Palgrave, 2006.
   Google Scholar
• Reinelt, Janelle. “The Promise of Documentary.” Get Real: Documentary Theatre Past and Present. Ed. Alison Forsythe and Chris Megson. New York: Palgrave, 2009. 6–23.
   Google Scholar
• Ricoeur, Paul. Time and Narrative. Vol. 3. Trans. Kathleen Blamey and David Pellauer. Chicago: U of Chicago P, 1988.
   Google Scholar
• Robinson, Cedric J. Black Marxism: The Making of the Black Radical Tradition. Chapel Hill: U of North Carolina P, 1983.
   Google Scholar
• Ronell, Avital. “Interview.” Angry Women. Ed. Andrea Juno and V. Vale. London: Re/Search, 1991. 127–53.
   Google Scholar
• Ruck, Rob. The Tropic of Baseball: Baseball in the Dominican Republic. Lincoln: U of Nebraska P, 1998.
   Google Scholar
• Sebald, W. G. On the Natural History of Destruction. Trans. Anthea Bell. New York: Modern Library, 2004.
   Google Scholar
• Sharpe, Christina. Monstrous Intimacies: Making Post-Slavery Subjects. Durham, NC: Duke UP, 2010.
   Google Scholar
• Smith, Red. “Curt's 13th Amendment.” New York Herald Tribune. 1 Jan. 1970. BaseballLibrary.com, 2006. Web. 7 Sep. 2010. <http://www.baseballlibrary.com/excerpts/excerpt.php?book=red_smith&page=11>.
   Google Scholar
• Sontag, Susan. On Photography. New York: Farrar, 1977.
   Google Scholar
• Spillers, Hortense J. “Changing the Letter: The Yokes, the Jokes of Discourse, or, Mrs. Stowe, Mr. Reed.” Slavery and the Literary Imagination. Ed. Deborah E. McDowell and Arnold Rampersad. Baltimore, MD: Johns Hopkins UP, 1989. 25–61.
   Google Scholar
• Taussig, Michael. Shamanism, Colonialism, and the Wild Man: A Study in Terror and Healing. Chicago: U of Chicago P, 1987.
   Google Scholar
• Weiss, Peter. “The Material and the Models: Notes towards a Definition of Documentary Theater.” Trans. Heinz Bernard. Theatre Quarterly 1.1 (1971): 41–43.
   Google Scholar
• Williams, Raymond. Television: Technology and Cultural Form. Middletown, CT: Wesleyan UP, 1992.
   Google Scholar
• Winston, Brian. Claiming the Real: The Documentary Film Revisited. 2nd ed. London: British Film Institute, 2008.
   Google Scholar
• Young, Harvey. Embodying the Black Experience: Stillness, Critical Memory, and the Black Body. Ann Arbor: U of Michigan P, 2010.
   Google Scholar