Copyrighted material – 9780230247307 Contents List of Figures viii Notes on Contributors ix Acknowledgements xviii Introduction: The Ethical Drive 1 Bryan Reynolds Chapter 1 The ‘F’ Word, Feminism’s Critical Futures 8 Elaine Aston Chapter 2 Public Sphere 16 Christopher Balme Chapter 3 Paramodern 24 Stephen Barker Chapter 4 Digital Culture 39 Sarah Bay-Cheng Chapter 5 Misperformance 50 Marin Blažević and Lada Cˇale Feldman Chapter 6 Interval 57 Dylan Bolles and Peter Lichtenfels Chapter 7 Neuroaesthetics, Technoembodiment 65 Susan Broadhurst Chapter 8 Recursion, Iteration, Difference 76 Johan Callens Chapter 9 Living History, Re-enactment 84 Marvin Carlson Chapter 10 Performance Philosophy 91 Laura Cull Chapter 11 Translation, Cultural Ownership 101 Maria M. Delgado Chapter 12 The Intense Exterior 109 Rick Dolphijn v Copyrighted material – 9780230247307 Copyrighted material – 9780230247307 Contents Chapter 13 Cosmopolitanism 117 Milija Gluhovic Chapter 14 Cultural Diversity 125 Lynette Goddard Chapter 15 Citizenship, the Ethics of Inclusion 133 Nadine Holdsworth Chapter 16 Installation, Constellation 141 Lynette Hunter Chapter 17 Spatial Concepts 156 Silvija Jestrovic Chapter 18 Consensus, Dissensus 164 Adrian Kear Chapter 19 Counterpropaganda, Resistance 174 Suk-Young Kim Chapter 20 Ekstasis 181 Anthony Kubiak Chapter 21 Social Somatics 185 Petra Kuppers Chapter 22 Globalization, the Glocal, Third Space Theatre 193 Carl Lavery Chapter 23 Theatre of Immediacy, Transversal Poetics 201 Mark LeVine and Bryan Reynolds Chapter 24 Time in Theatre 215 Jerzy Limon Chapter 25 Empathetic Engagement 227 Bruce McConachie Chapter 26 Theories of Festival 234 Christina S. McMahon Chapter 27 Magic in Theatre 244 Mihai Maniutiu Translated from the Romanian by Cipriana Petre Chapter 28 Animality, Posthumanism 248 Jennifer Parker-Starbuck Chapter 29 Postdramatic Theatre 258 Patrice Pavis vi Copyrighted material – 9780230247307 Copyrighted material – 9780230247307 Contents Chapter 30 Evo-Neuro-Theatre 273 Mark Pizzato Chapter 31 International/ism 281 Janelle Reinelt Chapter 32 Transculturation 289 Jon D. Rossini Chapter 33 Social Practice 297 Maria Shevtsova Chapter 34 ‘City’ 304 Nicolas Whybrow Index 314 vii Copyrighted material – 9780230247307 Copyrighted material – 9780230247307 Introduction: The Ethical Drive Bryan Reynolds This book is both long overdue and ahead of its time. It fills gaps as it opens gateways. It investigates as it expands. With 34 chapters by an inter- national lineup of distinguished scholars, each on topics their authors consider paramount to the future of performance studies, the aim of Performance Studies: Key Words, Concepts and Theories is to introduce and welcome students to that future while contributing productively to the field’s wide-ranging, adventurous, diverse and conscientious nature that has worked to make performance studies so innovative, valuable and excit- ing. As an academic field of research and teaching, performance studies is about 50 years old.1 Although analysis of on-stage performance, such as in a theatre or circus, and off-stage performance, such as context-specific social interactions or political protests, has been common to academic study since antiquity, it was not until the later 20th century that scholars began to recognize performance studies as its own field, and not as a subfield of theatre, cultural, music, or visual studies, anthropology, psychology or sociology, among others. This led to the establishment of bachelor and doctoral degrees in performance studies as well as performance studies departments, organizations, journals and conferences. Thus, performance studies is not beholden to any one academic discipline or method in particular and is enthusiastically committed to interdisciplinary analysis of multiple variables to any performance, variables potentially related to everything from authorial intention to means of artistic production and dissemination to audience experience and political impact. Performance studies began as an interdisciplinary field, and because of its inclusive approach, combined with its dedication to researching and communicat- ing across fields, arts disciplines and cultures, performance studies is now one of the most transdisciplinary and fast-growing fields in universities today. Because of performance studies’ extensive scope of subject matter, which includes the various theories and methodologies it uses to explore performance, students learn to better comprehend performance – whether in a theatre, workplace, or the street – as an operative concept and lived factor in everyday life. Working along these lines, the primary purpose of this book is to introduce students to the directions in which the field of 1 Copyrighted material – 9780230247307 Copyrighted material – 9780230247307 Introduction: The Ethical Drive performance studies is moving through the key words, concepts and theo- ries that are shaping its future. My intention here is to highlight the methodology that the diverse chap- ters collectively embody. In other words, it is not my intention to introduce the individual chapters, but to introduce and discuss a mode of critical inquiry that is proposed by the contributions to performance studies that the chapters in this book jointly comprise. In doing this, I want to draw attention to what I term ‘the ethical drive’ that I believe has significantly fueled the field of performance studies since its inception, over the past 20 years especially, and that directly informs its future, as can be seen in the chapters assembled here. The ethical drive refers to the field’s commitment, expressed by scholars working within the field, to critically and construc- tively address, through analysis of on- and off-stage performance, issues related to sexual, gender, class, race, cultural, aesthetic, ethnic and national differences, in the interest of fostering shared understanding and respect, social equality and the betterment of life for all people. The idea to edit a volume of new and forward-looking chapters on key words, concepts and theories in performance studies was inspired, first, by the longstand- ing need for such a book for introductory courses in performance, theatre and cultural studies. Second, the benefits to the publication of a volume with the originality, breadth and rigor demonstrated by the chapters are deep and far-reaching. This is not just for the fields of performance, theatre and cultural studies to which the chapters specifically contribute but also, as models in methodology and objective, for all fields aspiring to trans- disciplinarity: researching, communicating and collaborating within and across traditional disciplinary boundaries. Hence, the volume contributes inwardly and outwardly at the same time. It performs the field’s impor- tance well beyond audiences – scholars and students – directly invested in performance studies while it reinforces, for the academy at large, the disci- pline’s distinctiveness, constitution and authority as a site for the explora- tion and transfer of specific knowledge. As a necessary component to the structure of their investigations and statements, the chapters purposefully connect performance studies to a number of disciplines and subdisciplines, the aims of which it often shares. These include critical theory, political science, ethnography, social geography, cognitive neuroscience, philoso- phy, translation studies and visual arts. The key words, concepts and theories posited by the chapters do not stem from a drive for the new, the trendy, or the marketable. Although there is considerable pressure within performance studies, as within most academic fields, to come up with a new concept or approach, such moti- vation is not the feeling one gets from reading the chapters. This indiffer- 2 Copyrighted material – 9780230247307 Copyrighted material – 9780230247307 Bryan Reynolds ence to such opportunism was a goal of mine when determining which chapters to include, but it was also an aspiration easily achieved within the field. The ethical drive at the core of performance studies makes the field serious, benevolent and activist. However idealist and utopian this might sound, I believe that the field is occupied predominantly by people hoping to contribute positively to the world through their scholarship and teach- ing. The ethical drive of performance studies is the field’s common denom- inator, its most impressive attribute and its greatest source of inspiration. It does not take as its primary objective the determining of right and wrong either generally or within a given context. Instead, it is about revealing the stakes, contingencies, perspectives and other factors that come into play any time humans interact with each other, and in the cases discussed in this volume, when a modality of performance is involved – performance defined here as intentional expression for an audience. The ethical drive to performance studies is beneficent, affirming and generative rather than judgmental, divisive and policing. In their identifications, formulations and delineations of key words, concepts and theories, the contributors have conducted what I would call, using the terminology of transversal poetics, ‘fugitive explorations’.2 Trans- versal poetics is a combined sociocognitive theory, performance aesthetics and critical methodology for which process, mobility, adaptability, inclu- sion and affirmation are vital. Simply put, transversal poetics is the name of an approach to conducting research,