Detailed Course Schedule

B. Llana
LIT769M/D Introduction to Performance Studies of Literature Term 1 2013-2014 / S 800-1115, M316 Arts

Instructor: Jazmin
Department College of Liberal

We ek
1 2

Date
June 1 June 8

Topic
Orientation Introduction What is Performance? What is Performance Studies?

Readings

Discussion Leader

3

June 15

4

June 22

Theory 0 What is Performance? What is Performance Studies? Theory 1 Origins: play, ritual, and proto-theatre Mimesis and Action: presentation/ representation, event, dramaturgy Performativity and the performance of everyday life

• Richard Schechner, “What is Performance” in Performance Studies: An Introduction (2002), 22-44. • Various articles in The Performance Studies Reader (2007): • Bial, Introduction, 1-4 • Bial, “What is Performance Studies?” 5-6 • Schechner, “The broad spectrum approach”, 7-9 • McKenzie, “The Liminal Norm”, 26-31 • Kirshenblatt-Gimblett, “Performance Studies”, 43-55 • Marvin Carlson, “Introduction: What is Performance?” in Performance: a critical introduction (2004), 1-7. • Llana, “Cultural Performance” keyword essay (PDF) ALTERNATIVE CLASS: Reading and Independent Research; writing of plan and abstract proposal on the final paper • Schechner, “Approaches” in Performance Theory, 2nd Ed. (2003), 1-25 • Schechner, “Actuals” in Performance Theory, 2nd Ed. (2003), 26-65. • Victor Turner, “Liminal to Liminoid, in Play, Flow, and Ritual” in Ritual and Theatre: The Human Seriousness of Play (New York: PAJ Publications, 1982), 20-60; also in Counsell and Wolf 2001, 202-209.

Jannet Mangabang Menchie Caridad Jen Arroyo

Lystra Aranal

1

“Thinking out of time: Theatre and the ethic of interruption”. • Bateson. “Performances: Belief in the part one is playing” in Bial 2007. 1-33. 2003). disappearance. Chapter One. 248-262. “Performative Acts and Gender Constitution” in Bial 2007. 167-173. 24-29 • Huizinga. 154-166. “Enacting Space” in Counsell and Wolf 2001. • Adrian Kear. “Introduction to Performativity and Performance” in Bial 2007. Aesthetics. “Nature and Significance of Play” in Bial 2007. 121-131 • J. • Butler. materiality 6 July 6 Theory 3 Ethics. “Towards Tomorrow?” in A performance cosmology: Testimony from the future. • Diana Taylor. evidence of the past (2006). “The Frame” in Counsell and Wolf 2001. “Focus on the body: pain. 99-110. location. architecture Time: presence. and pleasure in feminist performance” in Critical theory and performance (2007). “Frame. “Acts of Transfer. 156-163. historicity Body: embodiment. place. 2 . ‘How to do things with words: Lecture II’ in Bial 2007.” The Archive and Repertoire (Durham: Duke UP. 146-166 (PDF) • Jacques Ranciere. “Broken symmetries” and “Ontology of performance” in Unmarked (1993). • Jeanie Forte. PR 9(4). Theatre and Politics Ato Maligaya Jaycee Avelino Janette Calimag Diana Palmes Voltaire Villanueva Niko Felix Alma Bautista 5 June 29 Theory 2 Space: site. 117-120. 1-52.L. • Yi-Fu Tuan. • Parker and Sedgwick. 216-228. and Politics: participation. • Rustom Bharucha. Austin. The Emancipated Spectator (2004) (PDF) • Kelleher. “A theory of play and fantasy’ in Bial 2007. • Peggy Phelan. Flow and Reflection: Ritual and Drama as Public Liminality” (PDF) • Goffman.• Turner. 59-53 • Goffman. 147-153. praxis.

performancewales. • Amelia Jones. Mark A. agency. “PS Interventions and Radical Research” (2002) (PDF) • Llana. “Thick description” in The interpretation of cultures (1973). Clifford. ethics. 187202. “Introduction”. 1-13. “Deep play: notes on the Balinese cockfight”. 3-30. The interpretation of cultures: selected essays (1973). spectatorship 7 July 13 Research 1 • Analysis of Live Performance • Performance Archives and Documentation • Practice-based Research 8 July 20 Research 2 Fieldworks: Ethnography. Theory and Society 16. “Participation. and assessment” in Applied Theatre (2009).org/ • Conquergood. • Geertz. 412-53. “An historiographic perspective on practice as research” (2002) • http://www. 6: 809-39. • Baz Kershaw. no. Observation (2009) • Ridout. Analyzing performance (2003). relationality. “Performance Practice as Research: Perspectives from a Small Island” (2009) • Piccini. 9 July 27 Research 3 Practice Session: Performance 3 . Interviews. aesthetics. 11-18 • Pavis. Clifford. (1987). Theatre and Ethics (2009) • Reinelt. “Culture-as-Text in the Work of Clifford Geertz”. “Theatre and politics: Encountering Badiou” in PR 9(4): 87-94 • Kear. “Ethnographic Coperformance” (2010) (PDF) • Kirshenblatt-Gimblett. “’Presence’ in absentia: experiencing performance as documentation” (1997). “Participation’ video—You Tube • Prendergast and Saxton. “Objects of Ethnography” in Destination Culture (1998). • Geertz.engagement. • Schneider. 17-78.

and performance (2011). Identity. C. 10-72. (2008). “Performance Art” in 4 . (2011). • Auslander. 198-214. Media. 131176 • De la Paz. “Sacred Camp: Transgendering Faith in a Philippine Festival”. “Poon at panata: sining at paniniwala sa Mahal na Senyor ng Lucban. education. • Nicholson. Quezon” in PR 10. P. 105-120. 287-298. Culture. “Destination Museum” in Destination Culture (1998). C. and Technology • Performance and Education • Performance Art • Alcedo. “Global and intercultural performance” in PS: An introduction (2002). 1-14. 152-168. Indigeneity. Journal of Southeast Asian Studies 38. • Kirshenblatt-Gimblet. 91-104. • De Leon. “Live performance in a mediatized culture” in Liveness (2008). in Suri Sining. (2007). 127-141 • Schechner. • Carlson. 107-132.10 Aug 3 Research Practice 1 • Religious Performance • Performance. • Gilbert and Lo. Peter” in PHR 10. Felipe Jr. “Cultural Identity and Development” in Suri Sining. • Gomez-Pena. 226272. and Nation 11 Aug 10 Practice 2 • Intercultural Performance and Globalization • Performance. • De la Paz. • Videos on the Sinulog • Tiatco (2008). (2011). Helen. “Introduction: performing cosmopolitics” in Performance and cosmopolitics (2007). “Celebrating in the waters and frolicking with St. “Learning in theatres and participation in theatre: cool spaces?” Theatre. “Culturas-inextremis: performing against the cultural backdrop of the mainstream bizarre” in Bial (2007). The appropriation of local culture in museum practices: problems and possibilities for Philippine communities.

12 Aug 17 Critique 1 • Performance and the politics of culture • Imperialism and performance studies • Misperformance 13 Aug 24 Aug 31 Practice 3 Performance Studies Philippines Practice 4 Making the performance turn. 15-32. 3-17. (1993). 212-215 • Goldberg. • Bharucha. joining the conversation 14 Performance: a critical introduction. Eileen. “Performance art from futurism to the present” in Huxley and Witts (2002). “The five avantgardes or…or none?” in Huxley and Witts (2002). R. Roselee. “Reclaiming the Right to Performance: Axioms and evidence in search of the new international” in PR 9(4). 342-358. and Wee. “Introduction: Contesting performance in an age of globalization” in Contesting performance (2010) (PDF) ALTERNATIVE CLASS: Participation in ‘Pagtitipon/Gathering: The First Conference on Performance Studies in the Philippines’ FINAL COURSE OUTPUT: Paper Presentations 5 . “Introduction” in Performance: Live art since the 60s (1998) (PDF) • Legaspi-Ramirez. (2004). “Power and performativity: the case of Tupada” in PHR 10. Theatre and the world: Performance and the politics of culture • Roms. • Bharucha. R. • Goldberg. 110-134 • Schechner. McKenzie.

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