Efnisyfirlit

• Cover
• Half Title
• Title Page
• Copyright Page
• Dedication Page
• CONTENTS
• Preface
• Acknowledgements
• Margin icons
• 1 WHAT IS PERFORMANCE?
  • Introducing this book, this field, and me
  • The boxes
  • Defining performance
  • The nine kinds of performances
  • Restored behavior
  • Caution, beware of generalizations
  • As/is performance
  • Make believe/make belief
  • Blurry boundaries
  • The seven functions of performance
  • As/is and the broad spectrum, again
  • Conclusions
• 2 WHAT IS PERFORMANCE STUDIES?
  • Confounding categories, blurring boundaries
  • Performance studies here, there, and everywhere
  • Antecedents to performance studies
  • The Victor Turner connection
  • Ethical and political questions
  • Conclusions
• 3 PERFORMANCE PROCESSES
  • The performing arts as a model
  • Performance process as a time-space sequence
  • Rules, proto-performance, and public performance
  • The performance quadrilogue
  • From montage to virtual reality
  • Experimental in one context, ordinary in another
  • Conclusions
• 4 THE BROAD SPECTRUM OF PERFORMANCE
  • From nonmatrixed performing to complex acting
  • Realistic performing
  • Brechtian performing
  • Codified performing
  • Codified performing and the avantgarde
  • Ritualists, charisma, and presence
  • Puppets and masks
  • Hybrid performing
  • Performing in everyday life
  • Trials and executions as performance
  • Surgery as performance
  • Belief in the role one is playing
  • How realistic is realistic acting?
  • Conclusions
• 5 RITUAL
  • Sacred and secular
  • Human and animal rituals
  • Trance
  • Trance and shamanism
  • Rites of passage, liminal, liminoid
  • Communitas and anti-structure
  • Ritual time and space
  • Transportations and transformations
  • Asemo’s initiation
  • Social drama and ritual process
  • The pig-kill at Kurumugl
  • The efficacy-entertainment dyad
  • Origin of performance: if not ritual, what?
  • Changing rituals or inventing new ones
  • Using rituals in theatre, dance, and music
  • Conclusions
• 6 PLAY
  • The joker in the deck
  • What is play? What is playing?
  • Play and games
  • Seven ways to approach play
  • Types of playing
  • Play acts, play moods
  • Flow, or experiencing playing
  • Transitional objects, illusions, and culture
  • Animal play
  • The message, “this is play”
  • Bateson’s Othello
  • Blood games, blood rites
  • Philosophies of play
  • The bias against play
  • Maya–lila
  • Deep play, dark play
  • Conclusions
• 7 PERFORMING IN THE PALEOLITHIC
  • What is the paleolithic?
  • Where is the art, and how old is it?
  • Is it art?
  • What was the cave art for?
  • Vulvas, “venuses,” hybrids, women artists
  • Performing in the caves
  • Shamanic vision-quests
  • Paleoperformance
  • Lascaux online and replicated onsite
  • Conclusions
• 8 PERFORMATIVITY
  • A term hard to pin down
  • Austin’s performative
  • Speech acts
  • From Survivor to EarthCam
  • Postmodernism
  • Simulation
  • Poststructuralism/deconstruction
  • The diffusion of poststructuralism
  • Problems with poststructuralism
  • Constructions of gender
  • Constructions of race
  • Performance art
  • What the Gravedigger knew about the performative
  • Conclusions
• 9 SOCIAL MEDIA
  • Up, up, and away
  • When and what?
  • The network society
  • Performing you on social media
  • Second self or augmented self?
  • The importance of interests
  • From Goffman to web 2.0
  • Big business, fake news, war
  • POTUS @realDonaldTrump
  • Change by means of social media
  • Social media and the arts
  • Conclusions
• 10 INTERCULTURAL AND GLOBAL PERFORMANCES
  • Globalization’s throughline
  • Intercultural performances
  • Vertical performances
  • Horizontal performances
  • Fusions and hybrids
  • Colonial mimicry and importing
  • Applied performances
  • Terrorist acts as applied global performances
  • Tourist performances: leisure globalization
  • Border wars
  • The Olympics: globalism’s signature performance
  • Conclusions
• Bibliography
• Index

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