Situated Knowing Epistemic Perspectives on Performance

Contents

List of Images

Acknowledgements

Introduction: Situated Knowing: From Performance Art to the Laboratory of Knowledge-Making, Ewa Bal and Mateusz Chaberski

Part 1. Knowing and Alternative Genealogies – introduction by Ewa Bal

Chapter 1. Slough Media, Rebecca Schneider

Chapter 2. The Performing Arts as ‘Cognitive Hybrids’: The Power of the Performatic Spiel-Raum, Fabrizio Deriu

Part 2. Knowing with Performative Arts – introduction by Mateusz Chaberski

Chapter 3. Dead Capital, Diana Taylor

Chapter 4. Beyond Presence: Performing the Limits of Knowing, Małgorzata Sugiera

Chapter 5. Performative Approaches to the Cultural Policy Field, Fabiola Camuti

Part 3. Knowing in Contact Zones – introduction by Ewa Bal

Chapter 6. Decolonizing Documentary: Wojtek Doroszuk’s Sape and Prince, Mateusz Borowski

Chapter 7. Beyond Ethnicity? New Architectures of Access to Local Cultures in Dorota Nieznalska’s Memory and Violence (2019), Ewa Bal

Part 4. Knowing Beyond the Human – introduction by Mateusz Chaberski

Chapter 8. The Shadow of a Pine Tree: Authorship, Agency and Performing Beyond the Human, Annette Arlander

Chapter 9. What Performativity Scholars Can Learn from Mushrooms: Situated Knowing in Polyphonic Assemblages, Mateusz Chaberski

Ewa Bal is Performance Studies professor at Jagellonian University in Krakow (Poland) and visiting professor at Italian and Spanish Universities. She is a member of EASTAP and IFTR, and the author of two monographs: Corporeality in Drama: The Theatre of Pier Paolo Pasolini and its Legacy (Krakow, 2006), In the Footsteps of Harlequin and Pulcinella. Cultural Mobility and Localness of the Theatre (Krakow, 2017, soon to be published in English by Peter Lang) and over forty papers in scientific journals. She has also edited Performance, Performativity, Performer: Definitions and Critical Analysis (2013), and Performance Studies: Territories (2017). She has translated and edited several Italian and Polish, plays by Pier Paolo Pasolini, Emma Dante, Davide Enia, Annibale Ruccello, Enzo Moscato, Fausto Paravidino, Jan Klata and Michał Walczak. Her major academic interests are the cultural mobility of performance and theatre, minority language theatre and performance, translation studies, gender and queer studies, and (de)postcolonial studies.

Mateusz Chaberski is PhD student at the Department for Performativity Studies at the Jagiellonian University, Kraków. In 2016, he won a Foundation for Polish Science scholarship for innovative research in Humanities. His academic interests range from performance studies, affect, and assemblage theories to Anthropocene studies. He is also Deputy Managing Director at the Jagiellonian University Press. In 2019, he published Asamblaże, Asamblaże. Doświadczenie w zamglonym antropocenie and in 2015 Doświadczenie (syn)estetyczne. Performatywne aspekty przedstawień site-specific with Księgarnia Akademicka, Kraków.

Annette Arlander, DA, MA, is an artist, researcher and a pedagogue. She was professor of performance art and theory at Theatre Academy Helsinki (2001-2013), professor of arts research at the University of the Arts Helsinki (2015-2016) and Postdoctoral Fellow in the Arts at the Helsinki Collegium for Advanced Studies (2017). At present (2018-2019), she is professor of performance, art and theory at Stockholm University of the Arts and visiting researcher at the Academy of Fine Arts, University of the Arts Helsinki. She is the PI of an Academy of Finland funded research project, How to Do Things with Performance?, and an artistic research project, Performing with Plants, funded by the Swedish Research Council. Her research interests include artistic research, performance-as-research and the environment. Her work moves between performance art, media and environmental art. For publications and works, see https://annettearlander.com

Mateusz Borowski is Professor in the Department for Performativity Studies at the Jagiellonian University, Krakow. His main areas of interest are the history and sociology of science and counterfactual narratives in historiography and memory studies. Was a co-editor of the collective monograph Fictional Realities / Real Fictions.　Contemporary Theatre in Search of a New Mimetic Paradigm　(Cambridge 2007),　Worlds in Words: Storytelling in Contemporary Theatre and 　Playwriting　(Cambridge 2010) as well as the anthology of Polish theatre thought Theater spielen und denken　(Suhrkamp 2008).　With Małgorzata Sugiera he published monographs Trap of the Opposites. Ideologies of Identity (2012) and Artificial Natures. Peformances of Technoscience and Art (2016), Emerging Affinities – Possible Futures of Performative Arts (Transcript 2019). Recently he published Strategie zapominania. Pamięć i□ kultura cyfrowa (2015). He is also active as a translator.

Fabiola Camuti is senior researcher and project leader at ArtEZ University of the Arts (The Netherlands) and Research Affiliate with the Amsterdam School of Cultural Analysis (ASCA). She has worked as a lecturer at departments of Theatre Studies (University of Amsterdam and Utrecht University). She completed her PhD in a joint programme (Theatre Studies/Cultural Studies) between the Department of Art and Performance Studies (Sapienza University of Rome) and ASCA (University of Amsterdam). Her research is strongly marked by interdisciplinary methodology, involving dialogue between the humanities, sociology and cognitive science, and a practice-led approach to the analysis of theatrical and cultural phenomena.

Fabrizio Deriu is Associate Professor in Theatre and Performance Studies, and a faculty member of the PhD programme in Music and Performance Studies at Sapienza University of Rome. His main research interests are performance studies, the history of Italian actors and acting in 20th and 21st-century theatre, film and audiovisual media. He has written five books (including Performatico. Teoria delle arti dinamiche, 2012; and Mediologia della performance, 2013) and several articles in peer-reviewed journals and edited books. He has lectured and/or presented papers in international conferences in Italy and abroad. He has also edited and translated Italian collections of essays by Richard Schechner (1999) and Diana Taylor (2019).

Rebecca Schneider is Professor in the Department of Theatre Arts and Performance Studies, teaches performance studies, theater history, and theories of intermedia. She is the author of Theatre and History (Palgrave 2014), Performing Remains: Art and War in Times of Theatrical Reenactment (Routledge 2011) and The Explicit Body in Performance (Routledge, 1997). She has coedited the anthology Re:Direction: A Theoretical and Practical Guide to 20th-Century Directing and a special issue of TDR: The Drama Review on Precarity and Performance (2012) . She is a consortium editor for TDR, contributing editor to Women and Theatre, coeditor with David Krasner of the book series "Theatre: Theory/Text/Performance" with University of Michigan Press, and consulting editor for the series "Performance Interventions" with Palgrave McMillan. Schneider has published essays in several anthologies, including Psychoanalysis and Performance, Acting Out: Feminist Performance, Performance and Cultural Politics, Performance Cosmologies, Performance and the City , and the essay "Solo Solo Solo" in After Criticism. In addition, she has collaborated with artists at such sites as the British Museum in London and the Mobile Academy in Berlin, and delivered lectures at museums such as the Guggenheim in New York, the Gulbenkian in Lisbon, the Museum of Modern Art in Warsaw, Musee d’Art Contemporain de Montreal, and the Centre de la Dance in Paris.

Małgorzata Sugiera is a Full Professor at the Jagiellonian University in Krakow, Poland, and the Head of Department for Performativity Studies. She has lectured and conducted seminars at German, French, Swiss and Brazilian universities. Her main fields research are performativity theories and cultural studies. Published 12 monographs, recently Ghosts and Other Returns. Memory – History – Drama (2005), Other Shakespeare (2009), Nonhumans. Dispatches from Artificial Natures (2015) as well as with Mateusz Borowski Trap of the Opposites. Ideologies of Identity (2012) and Artificial Natures. Performances of Technoscience and Art (2016). Co-editor of Fictional Realities / Real Fictions　(Cambridge 2007),　Worlds in Words. Storytelling in Contemporary Theatre and Playwriting　(Cambridge 2010), Theater spielen und denken　(Suhrkamp 2008), Emerging Affinities – Possible Futures of Performative Arts (Transcript 2019). She is active as a translator of scholarly books and plays from English, German and French.

Diana Taylor is University Professor and Professor of Performance Studies and Spanish at NYU. She is the author of Theatre of Crisis: Drama and Politics in Latin America (1991), which won the Best Book Award given by New England Council on Latin American Studies and Honorable Mention in the Joe E. Callaway Prize for the Best Book on Drama; of Disappearing Acts: Spectacles of Gender and Nationalism in Argentina’s ‘Dirty War’, Duke U.P., 1997; and The Archive and the Repertoire: Performing Cultural Memory in the Americas (Duke U.P., 2003), which won the ATHE Research Award in Theatre Practice and Pedagogy and the Modern Language Association Katherine Singer Kovacs Prize for the best book in Latin American and Spanish Literatures and Culture (2004). The Archive and the Repertoire has been translated into Portuguese by Eliana Lourenço de Lima Reis (Belo Horizonte, Brazil: Universidade Federal de Minas Gerais 2012) and Spanish by Anabelle Contreras (Santiago de Chile: Ediciones Universidad Alberto Hurtado, 2015.) Recently she published PERFORMANCE (Buenos Aires: Asuntos Impresos, 2012), a new revised version in English with Duke U.P. 2016.

Biography

Ewa Bal is Professor in the Department of Performativity Studies at Jagellonian University in Kraków, Poland, and a visiting professor at Italian and Spanish universities. She is a member of EASTAP and IFTR, and the author of two monographs: Corporeality in Drama: The Theatre of Pier Paolo Pasolini and its Legacy (2006), In the Footsteps of Harlequin and Pulcinella. Cultural Mobility and Localness of the Theatre (2017, soon to be published in English) and over forty papers in scientific journals. She has also edited Performance, Performativity, Performer: Definitions and Critical Analysis (2013), and Performance Studies: Territories (2017). She has translated and edited several Italian and Polish plays by Pier Paolo Pasolini, Emma Dante, Davide Enia, Annibale Ruccello, Enzo Moscato, Fausto Paravidino, Jan Klata and Michał Walczak. Her major academic interests are the cultural mobility of performance and theatre, minority language theatre and performance, translation studies, gender and queer studies, and (de)postcolonial studies.

Mateusz Chaberski has a PhD from the Department for Performativity Studies at the Jagiellonian University, Kraków, Poland. In 2016, he won a Foundation for Polish Science scholarship for innovative research in Humanities. His academic interests range from performance studies, affect and assemblage theories to Anthropocene studies. He is also Deputy Managing Director at the Jagiellonian University Press. In 2015 he published Doświadczenie (syn)estetyczne. Performatywne aspekty przedstawień and in 2019 Asamblaże, Asamblaże. Doświadczenie w zamglonym antropocenie.