performance research

 

on performance and performativity

 

 

 

about performance research graduate seminar

 

Convened by Dr. Elaine Sisson, performance research seminar meets alternate wednesdays 14:00-16:00 in Johns street, Dub. 8. This semester's theme is 'The Classical Text in Performance'. (For last semester's schedule go here.) Contact elaine.sisson(at)iadt.ie

 

spring 2010: Method, Practice and History

 

This semester will focus on questions of method in performance research with particular regard to documentation, writing, process, audience and temporality. During the semester we will look specifically at the method and practice of Joseph Beuys and Tadeusz Kantor and we will also read reflections on research and method by contemporary dance practitioners. At the end of the semester the Seminar will co-host and run an afternoon symposium in the Dance Festival called “The Many Bodies of Contemporary Dance”.

 

 

autumn 2009: the classical text in performance

 

Greek classical theatre continues to resonate within all aspects of contemporary life: public, private, political, literary, and academic. The study of the reception of classical texts within contemporary performance seeks both to understand the text within its original context and also to explore its influence within a wide variety of modern socio-political, cultural and economic contexts. Fredrich Engels’ use of the Oresteia as a key text for his analysis of the family, private property and the State is indicative of the influence of Greek drama beyond the space of the theatre. From the late nineteenth century Greek drama has become part of the repertoire of all modern theatres and, since the 1970s, there has been a remarkable explosion of performances of Greek tragedy internationally.

Antigone is “the first, and remains the greatest, play in western literature about the consequences of individual conscience defying civil authority” according to Marianne McDonald (2000) and its performance history reflects its immediacy within situations of conflict. Jean Anouilh wrote a version in occupied Paris in 1944, Brecht wrote a fascist version in 1948, Athol Fugard’s The Island (1973) features a performance of Antigone by two South African prisoners in the Apartheid years. Closer to home, Tom Paulin, (The Riot Act, 1985) Brendan Kennelly (Antigone, 1986) and Seamus Heaney (Burial at Thebes, 2004) all point to an Irish relevance in their versions. Judith Butler and Slavoj Zizek look to Antigone for an analysis of globalised complicated socio-political relationships. Greek tragedy is continually able to speak urgently and authoritatively to a modern audience. This seminar addresses why and how does Greek tragedy speak? It will look at how, in its tackling of conflict: between the genders, between public and private duty, between self-control and a sense of impotence – Antigone in particular finds resonance within the performative conditions of modern living.

 

spring 2010 schedule

 

  • 27/01/10 14:00-16:00

    Sean Kelly: Special Guest Lecture

  • 10/02/10 14:00-16:00

    Cause and Effect: The Performer and the Audience

    Jacques Ranciere “The Emancipated Spectator” in The Adventure Book: Vienna Dance Festival Publication, 2000: 4-15 (pdf)

     

  • 24/02/10 14:00-16:00

    Dancing and Doing: The relationship between performance and research

    Bozana Cvejic (2000) “Learning by Making and Making by Learning how to Learn” in The Adventure Book: 104-109. (pdf) Marten Spangberg, “Overwhelming, The Doing of Research” The Adventure Book : 33-47

     

  • 10/03/10 14:00-16:00

    Joseph Beuys

    Sean Rainbird (2005) “Ireland” Joseph Beuys and the Celtic World” London, Tate Publishing: 33-43 Peter Burger (2007) “In the shadow of Joseph Beuys: Remarks on the subject of art and philosophy today” The Joseph Beuys Reader (ed.) Claudia Mesch et al. London, IB Tauris: 250-263 Clara Bodenman Ritter (2007), “Everyman an Artist: Talks at Documenta V by Joseph Beuys.” The Joseph Beuys Reader, op.cit: 189-197.

     

  • 24/03/10 14:00-16:00

    Tadeusz Kantor

    Michal Kobialka (1992) “Spatial Representation: Tadeusz Kantor’s Theatre of Found Reality." Theatre Journal. (44) No. 3: 329-356. Selection from writings of Kantor (to be circulated)

     

  • 21/04/10 14:00-16:00

    NOTE CHANGE:

    Philip Auslander "The Performativity of Performance Documentation" Performance Art Journal (2006), pp. 1-10.

    Peggy Phelan "The Ontology of Performance: Representation without Reproduction" in her book Unmarked: The Politics of Performance. (1993), Routledge.

     

    DEFRERRED: Liminality, Time, Space

    Yi-Fu Tuan, “Space and Context” By Means of Performance (Ed) Richard Schechner and Willa Appel. U.Cambridge, 1990: 236-244 Barbara Myerhoff, “The transformation of consciousness in ritual performances: Some thoughts and questions” in Schechner and Appel, op cit. : 245-249 Susan Broadhurst, “The Liminal: A preliminary view” in Liminal Acts. London, Cassell, 1999: 12-26

     

  • 05/05/10 14:00-16:00

    To be announced

     

  • 19/05/10 14:00-16:00
    Dance Symposium as part of Dublin Dance Festival 2010

     

  • 02/06/10 14:00-16:00
    Group review and plan for Autumn 2010

     

 

supplementary reading

 


 

For additional information on the collaborating institutions consult www.dit.ie, www.ncad.ie, www.iadt.ie and www.ulster.ac.uk.