Performing the wound : practicing a feminist theatre of becoming / Niki Tulk.
Material type:![Text](/opac-tmpl/lib/famfamfam/BK.png)
- 9780367644888
- 9780367644949
- 700.9252 TUL (CR) 23/eng/20220401
Item type | Current library | Home library | Call number | Status | Date due | Barcode | |
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Institute of English Closed Reference | Institute of English | 700.9252 TUL (CR) (Browse shelf(Opens below)) | Not for loan | ENG15985 |
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425 BER (CR) Doing English grammar : theory, description and practice / | 425 RUY (CR) Indirect speech acts / | 616.891 7 BES/FR (CR) Freud and said: Contrapuntal psychoanalysis as liberation praxis/ | 700.9252 TUL (CR) Performing the wound : practicing a feminist theatre of becoming / | 720.105 BRE (CR) The architectural imagination at the digital turn / | 725.822 STA(CR) Modern theatres 1950-2020 / | 741.598 FAR Posthumanist Themes in Graphic Novels |
Includes bibliographical references and index.
Introduction -- Reframing performance within trauma studies literature -- The textured language of rupture : multimedia installations by Ann Hamilton -- Dreaming in-between : landscape, trauma and meaning-making in the work of Renée Green -- Weaving lament : Cecilia Vicuña's poetry in performance -- Conclusion.
"This book offers a matrixial, feminist-centered analysis of trauma and performance, through examining the work of three artists: Ann Hamilton, Renée Green, and Cecilia Vicuña. Each artist engages in a multi-media, or "combination" performance practice; this includes the use of site, embodied performance, material elements, film, and writing. Each case study involves traumatic content, including the legacy of slavery, child sexual abuse and environmental degradation; each artist constructs an aesthetic milieu that invites rather than immerses-this allows an audience to have agency, as well as multiple pathways into their engagement with the art. The author suggests that these works facilitate an audience-performance relationship based on the concept of ethical witnessing/wit(h)nessing, in which viewers are not positioned as voyeurs, nor made to risk re-traumatization by being forced to view traumatic events re-played on stage. This approach also allows agency to the art itself, in that an ethical space is created where the art is not objectified or looked at but joined with. Foundational to this investigation are the writings of Bracha L. Ettinger, Jill Bennett and Diana Taylor-particularly Ettinger's concepts of the matrixial, carriance and border-linking. These artists and scholars present a capacity to expand and articulate answers to questions regarding how to make performance that remains compelling and truthful to the trauma experience, but not re-traumatizing. This study will be of great interest to students and scholars of performance studies, art history, visual arts, feminist studies, theatre, film, performance art, postcolonialism, rhetoric and writing"--
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