474
Views
2
CrossRef citations to date
0
Altmetric
Articles

The planet, everyday: towards collaborative performance studies

ORCID Icon & ORCID Icon
Pages 90-107 | Received 10 Sep 2018, Accepted 06 May 2019, Published online: 04 Jun 2019

Works Cited

  • After Performance Working Group. “After Performance: On Transauthorship.” Performance Research 21.5 (2016): 35–36. Print. doi: 10.1080/13528165.2016.1223445
  • After Performance Working Group. “Vulnerability and the Lonely Scholar.” Contemporary Theatre Review Interventions. (2017). Web. < https://www.contemporarytheatrereview.org/2017/vulnerabilityand-the-lonely-scholar/ 2>..
  • Allen, David, and Eero Laine. “The Integrated Spectator: Theatre Audiences and Pedagogy.” Research in Drama Education 23.4 (2018): 598–612. Print. doi: 10.1080/13569783.2018.1494556
  • Arlander, Annette, Bruce Barton, Melanie Dreyer-Lude, Ben Spatz, eds. Performance as Research: Knowledge, Methods, Impact. London: Routledge, 2017. Print.
  • Bacon, Wallace. “The Dangerous Shores: From Elocution to Interpretation.” Quarterly Journal of Speech 46.2 (1960): 148–52. Print. doi: 10.1080/00335636009382405
  • Bacon, Wallace. “An Aesthetics of Performance.” Literature in Performance 1.1 (1980): 1–9. Print. doi: 10.1080/10462938009365814
  • Bacon, Wallace. “The Dangerous Shores: One Last Time.” Text and Performance Quarterly 16.4 (1996): 356–58. Print. doi: 10.1080/10462939609366159
  • Bay-Cheng, Sarah, Jennifer Parker-Starbuck, and David Saltz. Performance and Media: Taxonomies for a Changing Field. Ann Arbor: University of Michigan Press, 2015. Print.
  • Beardsley, Monroe C. “Right Readings and Good Readings.” Literature in Performance 1.1 (1980): 10–22. Print. doi: 10.1080/10462938009365815
  • Bial, Henry. “Performance Studies 3.0.” The Performance Studies Reader, 3rd edition. Ed. Henry Bail and Sara Brady. New York: Routledge, 2016. 402–11. Print.
  • Brater, Jessica, Jessica Del Vecchio, Andrew Friedman, Bethany Holmstrom, Eero Laine, Donald Levit, Hillary Miller, David Savran, Carly Griffin Smith, Kenn Watt, Catherine Young, and Peter Zazzali. “‘Let Our Freak Flags Fly’: Shrek the Musical and the Branding of Diversity.” Theatre Journal 62.1 (May 2010): 151–172. Print. doi: 10.1353/tj.0.0351
  • Cermatori, Joseph, Emily Coates, Kathryn Krier, Bronwen MacArthur, Angelica Randle, and Joseph Roach. “Teaching African American Dance/History to a ‘Post-Racial’ Class: Yale’s Project O.” Theatre Topics 19.1 (2009): 1–14. Print. doi: 10.1353/tt.0.0047
  • Cervera, Felipe. “Planetary Performance Studies.” GPS: Global Performance Studies 1.1 (2017). Web. <http://gps.psi-web.org/issue-1-1/planetary-performance-studies/>. doi: 10.33303/gpsv1n1a3
  • Cervera, Felipe, Shawn Chua, João Florêncio, Eero Laine, and Evelyn Wan. “Thicker States.” GPS: Global Performance Studies 1.1 (2017). Web. <http://gps.psi-web.org/issue-1-1/thicker-states/>. doi: 10.33303/gpsv1n1a3
  • Cervera, Felipe, Shawn Chua, Panayiotoa Demetriou, Areum Jeong Eero Laine, Azedeh Sharifi, Evelyn Wan, and Asher Warren. “Orientations: Where is the Future Now?” GPS: Global Performance Studies 2. 2 (2019). Web. <http://gps.psi-web.org/issue-2-2/orientations/>.
  • Chang, Heewon. “Individual and Collaborative Autoethnography as Method: A Social Scientist’s Perspective.” Handbook of Autoethnography. Ed. Stacy Holman Jones, Tony E. Adams, and Carolyn Ellis. Walnut Creek, CA: Left Coast Press, 2013. 107–119. Print.
  • Conquergood, Dwight. “Storied Worlds and the Work of Teaching.” Communication Education 42.4 (1993): 337–348. Print.
  • Daddario, Will, Janhavi Dhamankar, Milton Loayza, Jon McKenzie, Yana Meerzon, Tero Nauha, Theron Schmidt, and Aneta Stojnić. “What is Refugee?” Performance Philosophy 4.1 (2018): 206–233. Web. <https://www.performancephilosophy.org/journal/article/view/198>. doi: 10.21476/PP.2018.41198
  • Derrida, Jacques. “Archive Fever: A Freudian Impression.” Diacritics 25.2 (Summer 1995): 9–63. doi: 10.2307/465144
  • Fenske, Mindy. “Interdisciplinary Terrains of Performance Studies.” Text and Performance Quarterly 27.4 (2007): 351–368. Print. doi: 10.1080/10462930701587584
  • Gingrich-Philbrook, Craig. “Autoethnography’s Family Values: Easy Access to Compulsory Experiences.” Text and Performance Quarterly 25.4 (2005): 297–314. Print. doi: 10.1080/10462930500362445
  • Hawes, Leonard C. “Becoming Other-Wise: Conversational Performance and the Politics of Experience.” Text and Performance Quarterly 18.4 (1998): 273–279. Print. doi: 10.1080/10462939809366233
  • Hopper, Robert. “Conversational Dramatism and Everyday Life Performance.” Text and Performance Quarterly 13.2 (1993): 181–183. Print. doi: 10.1080/10462939309366042
  • Jackson, Shannon. Professing Performance: Theatre in the Academy from Philology to Performativity. Cambridge: Cambridge University Press, 2004. Print.
  • Korsberg, Hanna, Laura-Elina Aho, Iris Chassany, and Sofia Valtanen. “Remembering the Finnish Civil War: Embodied Empathy and Fellman Field.” Theatre Research International 44:1 (March 2019): 6–22. doi: 10.1017/S0307883318000810
  • Laine, Eero and David Allen. “Who Owns a Gesture? Negotiating Creation and Collaboration in Theatre Arts Practice.” NANO: New American Notes Online 10 (2016). <https://nanocrit.com/issues/issue10/who-owns-gesture-creation-and-collaboration-theatre-arts-practice>.
  • LeVan, Michael. “The Digital Shoals: On Becoming and Sensation in Performance.” Text and Performance Quarterly 32:3 (2012): 209–219. Print. doi: 10.1080/10462937.2012.691327
  • McKenzie, Jon. “Is Performance Studies Imperialist?” TDR: The Drama Review 50.4 (Winter 2006): 5–8. Print. doi: 10.1162/dram.2006.50.4.5
  • Peterson, Eric E. and Kristin M. Langellier. “The Politics of Personal Narrative Methodology.” Text and Performance Quarterly 17.2 (1997): 135–152. Print. doi: 10.1080/10462939709366178
  • Powell, Benjamin D. “Piecing Together/Performing a History: Grace, Accountability, and Action in My Own Coming to Performance Studies.” Text and Performance Quarterly 33.3 (2013): 270–272. Print. doi: 10.1080/10462937.2013.787452
  • Reinelt, Janelle. “Is Performance Studies Imperialist? Part 2.” TDR: The Drama Review 51:3 (2007): pp. 7–16. Print. doi: 10.1162/dram.2007.51.3.7
  • Rosenblatt, Louise M. “Act I, Scene 1: Enter the Reader.” Literature in Performance 1.2 (1981): 13–23. Print. doi: 10.1080/10462938109365830
  • Schmidt, Theron. “How We Talk About the Work is the Work.” Performance Research 23:2 (2018): 37–43. Print. doi: 10.1080/13528165.2018.1464751
  • Sloop, John M. “Learning to Perform.” Text & Performance Quarterly, 34.1 (2014): 108–110. Print. doi: 10.1080/10462937.2013.842262
  • Spry, Tami. “A ‘Performative-I’ Copresence: Embodying the Ethnographic Turn in Performance and the Performative Turn in Ethnography.” Text and Performance Quarterly 26.4 (2006): 339–346. Print. doi: 10.1080/10462930600828790
  • Spry, Tami. “Performing Academic Bodies.” Text & Performance Quarterly 33.3 (2013): 200–201. Print. doi: 10.1080/10462937.2013.788731
  • Striphas, Ted. “Performing Scholarly Communication.” Text and Performance Quarterly 32.1 (2012): 78–84. Print. doi: 10.1080/10462937.2011.631405
  • Taylor, Diana. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham, NC: Duke University Press, 2003. Print.

Reprints and Corporate Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

To request a reprint or corporate permissions for this article, please click on the relevant link below:

Academic Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

Obtain permissions instantly via Rightslink by clicking on the button below:

If you are unable to obtain permissions via Rightslink, please complete and submit this Permissions form. For more information, please visit our Permissions help page.