A paradigm for performance studies

Pelias, Ronald J.; VanOosting, James

doi:10.1080/00335638709383804

Cited by 77 publications

(11 citation statements)

References 34 publications

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“…NOTES 1 Most of these issues coincide with the emergence of "performance studies" as an alternate paradigm for performance-oriented teaching and research. For representative discussions, see Fine and Speer (1977), Strine (1983), Taft-Kaufman (1985), Pelias and VanOosting (1987), Wendt (1990), and Strine, Long, and HopKins (1990). 2 One possible objection to the kind of pedagogy we are advocating is that not every college or university has as extensive a performance curriculum as ours.…”

Section: Resultsmentioning

confidence: 98%

“Textual power” and the subject of oral interpretation: An alternate approach to performing literature

Bowman

Kistenberg

1992

Communication Education

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Contemporary theory in literary and performance studies has significantly effected oral interpretation pedagogy by broadening the idea of "text." Consequently, many oral interpretation courses now feature the analysis and performance of a variety of noncanonical or "nonliterary" verbal art forms. In this essay, we propose to supplement the changes in oral interpretation pedagogy brought about by the introduction of new texts by describing an alternate approach to analyzing and performing texts based on semiotic theory and Robert Scholes' model of reading.Recent theory in literary and performance studies poses a number of ideological and pedagogical challenges to the practice of oral interpretation, challenges that revolve around a variety of issues. 1 In what follows, we focus on one of these issues-the politics of textuality-to explore several ambiguities related to the teaching of reading and performance in undergraduate-level oral interpretation courses. We argue that semiotic theory should be used in such courses and that "theory" (with its elevated connotations in the undergraduate classroom) and "experimental" performance (which suggests a deviation from the norm) may be brought together to help students and teachers confront some of the social questions that invariably show up in oral interpretation classrooms. Using the terms reading, interpretation, and criticism, especially as these have been delineated by Scholes (1985Scholes ( , 1989, we describe an alternate approach to performing literature that focuses on questions of textuality, performance, and power. ORAL INTERPRETATION AND THE POLITICS OF TEXTUALITYFor much of this century, courses in oral interpretation have been considered most useful as a form of literary study, designed to help students gain an experiential knowledge of a literary text. By learning techniques for deciphering the character and situation of the dramatic speaker-in-the-text, and by embodying this speaker in a solo performance, students learned from the pleasures (and pains) of empathizing or identifying with the attitudinal complex of another (or an "Other") subjectivity. Because literature was projected as a special kind of writing, possessing specific aesthetic or formal properties and Michael S. Bowman is Assistant Professor and Cindy J. Kistenberg is a doctoral candidate in the

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Section: Resultsmentioning

confidence: 98%

“Textual power” and the subject of oral interpretation: An alternate approach to performing literature

Bowman

Kistenberg

1992

Communication Education

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“…Rodríguez, Rich, Hastings, and Page (2006) explained that in this method ''everyone has an equal opportunity to participate in the unfolding of the dramatic event'' (p. 231). In their explanation of ''proactive'' performance, Pelias and VanOosting (1987) contended that ''By denying special privilege among competing critical voices, several important implications follow. First, equal status is given to each audience member's perceptions'' (p. 227; italics added for emphasis).…”

Section: Cooperative Interaction and Equal Statusmentioning

confidence: 98%

“…He wrote that the barrier between actors and spectators must be destroyed: ''All must act, all must be protagonists in the necessary transformations of society'' (Foreword). Informed by the work of Freire and Boal, performance studies pedagogical scholars such as Pelias and VanOosting (1987) wrote about the varied levels of audience participation, and they explained that in ''interactive'' performance ''both performers and audience are seen as co-producers, each contributing to the artistic event'' (p. 227). In order for performers and audiences to ''co-produce,'' there must be a sense of cooperation between both parties.…”

Section: Cooperative Interaction and Equal Statusmentioning

confidence: 98%

“…Using the audience participation model developed by Pelias and VanOosting (1987) in their performances, interACT invites audience members on stage to dialogue with the actors. Specifically, because the troupe works diligently to develop multidimensional characters, the actors will perform an initial scene(s) in which the protagonist and antagonist are often difficult to discern.…”

Section: Cooperative Interaction and Equal Statusmentioning

confidence: 99%

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Proactive Performance: A Context for Intergroup Contact

Abrams

Shaw-Playter

LeMaster

et al. 2011

Howard Journal of Communications

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“…A number of theatrical programs exist; however, most are didactic or interactive rather than proactive. According to Pelias and VanOosting (1987), there is a continuum for inactive to proactive audience responses: 'At the far end of the continuum, audience might be identified as ''proactive''. Given this maximum participation, status of performer is conferred on all participants' (1987: 227).…”

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confidence: 99%

The interACT model: Considering rape prevention from a performance activism and social justice perspective

Rich

2010

Feminism & Psychology

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Although a number of rape prevention programs exist, the interACT Troupe is distinguished by their commitment to social justice pedagogy and proactive performance. Influenced by critical pedagogy and Theatre of the Oppressed, interACT uses embodied techniques aligned with feminist pedagogies to raise awareness, promote empathic responses, challenge (hyper)masculinity and encourage bystander interventions.The interACT performance troupe produces participatory shows on sociopolitical issues of concern to college students. I created it in 2000, shortly after accepting an academic position at an urban university near Los Angeles. I solicited students by mentioning the troupe in my courses, and posting audition notices around campus. The first year we had approximately 12 students from a variety of academic disciplines, and we met on campus each Sunday night to talk about issues that were meaningful to the students and begin the process of creating scenes. The issue that was most pressing for the majority of students was sexual assault, and our first year was spent developing the scenes that would eventually comprise our prevention program. Although interACT also produces shows on racism and homophobia,

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A paradigm for performance studies

Cited by 77 publications

References 34 publications

“Textual power” and the subject of oral interpretation: An alternate approach to performing literature

“Textual power” and the subject of oral interpretation: An alternate approach to performing literature

Proactive Performance: A Context for Intergroup Contact

The interACT model: Considering rape prevention from a performance activism and social justice perspective

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