Center and Edge of the World: Frontiers of Site-Specific Performance in Alaska

Babb, Genie

doi:10.1162/dram.2008.52.3.61

Cited by 3 publications

(1 citation statement)

References 5 publications

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“…3 Site-specific performance, then, is heterotopic because it self-consciously puts actual and imaginary places into play at the same time. 4 Dialogic accounts of the relationship between performance and place highlight the extent to which site-specific performance might enable theatrical material (performers, texts, scenographies, and so on) to enter into productive 'dialogue' with place -often places that theatre has commonly elided (Babb, 2008;Bennett, 2008;Somdahl-Sands, 2008;Stephenson, 2010). In palimpsestic or spectral accounts, site-specific performance negotiates an environment's past use (Hunter, 2005;Kaye, 2000;Kloetzel, 2010;Lavery, 2005;McEvoy, 2006;Pearson and Shanks, 2001;Turner, 2004).…”

Section: Michael Mckinniementioning

confidence: 99%

Performing Site-Specific Theatre

Birch¹,

Tompkins²

2012

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Performance Interventions is a series of monographs and essay collections on theatre, performance, and visual culture that share an underlying commitment to the radical and political potential of the arts in our contemporary moment, or give consideration to performance and to visual culture from the past deemed crucial to a social and political present. Performance Interventions moves transversally across artistic and ideological boundaries to publish work that promotes dialogue between practitioners and academics, and interactions between performance communities, educational institutions, and academic disciplines.

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Section: Michael Mckinniementioning

confidence: 99%

Performing Site-Specific Theatre

Birch¹,

Tompkins²

2012

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Theatre in Market Economies

McKinnie

2021

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Disrupting the hierarchy of knowledge production: the case of documenting social theatre in Palestine

Polonyi

2021

Studies in Theatre and Performance

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The field of social theatre is founded in community-engaged creative processes. It is inherently political, embedded in its geopolitical and social environment. Yet existing methods of documentationthe distribution and gathering of data and its output -do not always reflect this tradition. Methods related to documentation raise various concerns around consistent ways to gain and share knowledge if the meanings that we cultivate are not approached as an active, non-hierarchised exchange with and among communities, activists and practitioners we serve. In general form, these concerns are: a) What are the implications of needing to document social theatre; and b) What becomes of this knowledge? These two questions are demonstrated within the case of documentation in the occupied Palestinian territories. In a region containing the most documented and recorded conflict in the world (Debray 2007), academic research serves arguably to impose structure on a given phenomenon. Yet 'imposing' structure -or what one considers as such -raises additional concerns of perpetuating dynamics of colonial occupation amidst a population that is increasingly denied self-representation. Using this example, I argue that the future of our field risks data fossilising if it does not retain creative flexibility in crossing disciplines, in protecting grassroots and practice-based forms of knowledge cultivation, and in taking risks in permitting inquiries to test our scholarly expertise. This piece argues for an epistemological shift in our knowledge production -both its collection and distribution.

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Center and Edge of the World: Frontiers of Site-Specific Performance in Alaska

Cited by 3 publications

References 5 publications

Performing Site-Specific Theatre

Performing Site-Specific Theatre

Theatre in Market Economies

Disrupting the hierarchy of knowledge production: the case of documenting social theatre in Palestine

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