The Location and Dislocation of Theatre

Allsopp, Ric

doi:10.1080/13528165.2000.10871705

Cited by 4 publications

(6 citation statements)

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“…In the Pink Night festival all actors involved engage in a playful celebration through an "inclusive ecology" (Allsopp, 2000) of "protoplasmic" encounters. The method of participant observation within the celebration of the Pink Night highlights the fact that residents, tourists, and tourism workers co-perform to shape, reproduce and coalesce with the place.…”

Section: Resultsmentioning

confidence: 99%

“…This theoretical framework enabled a holistic and ecological consideration of the performances and relationships in tourism, which Allsopp (2000) calls "inclusive ecology". Such a perspective implies a shift from the binary logic and "atomistic" approach that views tourism places as being created through the contraposition between the well-distinguished performative forces of "hosts" and "guests," to a "protoplasmic" approach in their relationships and performances.…”

Section: Towards a "Performative Field" Within Tourism: Theorizing Anmentioning

confidence: 99%

“…Performances by actors with seemingly disparate roles, such as "hosts" and "guests", cannot be separated from the context within which they are located (Allsopp, 2000;2) so as to produce co-performance based on the production and reproduction of the tourism place. A place of tourism, such as the Romagna Riviera, is more than merely a place for tourists.…”

Section: Towards a "Performative Field" Within Tourism: Theorizing Anmentioning

confidence: 99%

“…This limitation has resulted in a partial decorporalization of performance that is sometimes mirrored in the application of methods of inquiry that are not appropriate to capture the movement and the sensoriality inherent in performing bodies. Following Allsopp's (2000) qualms about the notion of performance, this study seeks to overcome the above-mentioned shortcomings by conceptualizing tourism performances within a wider set of interdependencies and connections among environmental and social factors. The study adopts an "ecological style" (Toulmin, 1980), a school of thought that challenges the reductionist approach inherent in a dualistic Newtonian world view by embracing all manifestations of complexity, such as non-linearity, emergence, and becoming (Tsoukas and Dooley, 2011).…”

Section: Co-performing Tourism Placesmentioning

confidence: 99%

“…This novel approach diverges from the prevalent emerging trend in empirical studies, which refers to a performative arena that is molded by a reductionist binary logic of "action/reaction" in which confrontation between "hosts" and "guests" appears to be the norm (Edensor, 2001;Mordue, 2005;Quinn, 2007). Drawing from Allsopp's (2000) qualms regarding performance, this study suggests that an ecological perspective to the co-performing of "hosts" and "guests" represents a fresh approach that properly elucidates the complex systems of "host-guest interactions" (Sheller & Urry, 2004, p. 6) that dynamically create tourism places and make them "happen". To illustrate this argument, the same spirit of ecological fit and natural derivation will be applied to an analysis of the "Pink Night", which is an annual festival staged along the Romagna coastal region -a renowned mass-tourism destinations in Italy.…”

Section: Introductionmentioning

confidence: 99%

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Co-performing tourism places: The “Pink Night” festival

Giovanardi

Lucarelli

Decosta

2014

Annals of Tourism Research

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This paper adopts an ecological perspective to analyze the practices and processes inherent in encounters between residents and tourists. The study contributes to the literature on performance and performativity, seen as a novel theoretical approach in tourism studies, by proposing the concept of performative field, which enables a holistic and ecological consideration of the performances and relationships in tourism. This is in contrast with the binary logic emerging from the available studies, where confrontation between "hosts" and "guests" as two well-distinguished performative forces appear to be the norm. The study draws on non-representational theories and illustrates its arguments through an investigation, through participant observation, of the "Pink Night" (La Notte Rosa), an annual festival staged along the Romagna coastal region -one of the most renowned Italian mass-tourism destinations.

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Section: Resultsmentioning

confidence: 99%

Section: Towards a "Performative Field" Within Tourism: Theorizing Anmentioning

confidence: 99%

Section: Towards a "Performative Field" Within Tourism: Theorizing Anmentioning

confidence: 99%

Section: Co-performing Tourism Placesmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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Co-performing tourism places: The “Pink Night” festival

Giovanardi

Lucarelli

Decosta

2014

Annals of Tourism Research

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Dead Geographies—And How to Make Them Live

2000

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Introductioǹ`On the horizon, then, at the further edge of the possible, it is a matter of producing the space of the human species ö the collective (generic) work of the species ö on the model of what used to be called`art'; indeed, it is still so called, but art no longer has any meaning at the level of an`object' isolated by and for the individual. '' Lefebvre (1991, page 401) The set of papers in this special issue are all concerned in one way or another with the notion of performance, a notion whose hold is becoming general across much of the social sciences and humanitiesöfrom anthropology (for example, Farnell, 1999) to architecture (Davidson, 1998) and from history (Green, 1997) to the history of science (Gouk, 1996). In the past, performance tended to be associated with the theatre and theatricality. Yet, though theatre and theatricality still play a part in the study of performance, modern performance studies are founded in two developments. Theoretically, they arise from the meeting between those working in the performing arts and in the social sciences, especially anthropology and sociology, in the 1960s and 1970s. Practically, they can be found in the diaspora of performance out of the theatre in the same period, leading to the formation of many new artistic genres (many of which, significantly, move away from the traditional authority of the text). (1) In turn, these theoretical and practical pushes have now made performance into a central motif in the social sciences and humanities. In this introductory paper, we will argue that what we can see as a result is not one single motif but rather four different apprehensions of performance, apprehensions which clearly need to be explicated separately. This is not to say that these different apprehensions do not have elements in common. They do. They share, for example, a general and generalised discontent with the per-forms that went before, an interest in embodiment, and an attempt to unlock and animate new (human and nonhuman) potentialities. Above all, we argue, they want Abstract. In this introductory paper ö which follows the course of the papers included in this special issue ö we argue that there are currently four main apprehensions of performance. The first of those apprehensions is provided by the work of Judith Butler on performativity. We then move to a second apprehension ö the rather more general notion of performance found in nonrepresentational theory, using as an example the work of Gilles Deleuze. The third apprehension of performance is that taken from work found in the discipline of performance itself. Then, the fourth apprehension concerns the reworking of academic practices as performative.(1) Of course, there are many precursors to performance from before the 1960s and 1970s, many of which have been drawn into the tradition.

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Dreams and phantasms: Towards an ethnoscenological reading of the intercultural theatrical event

Turner¹

2008

Semiotica

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Semioticians writing about the theatre event have been wary of analyzing performance work that is non-Western, or challenges the conventions of Western theatre practice. This article applies Patrice Pavis's model for the analysis of intercultural performance in conjunction with Eugenio Barba's research in theatre anthropology to explore the position of the ethnoscenographer. The four levels of the model allow the spectator to accumulate materials from the knowledge and experience of the performance event to reach a level of readability, or, as Pavis refers to it, legibility. The spectator/critic's process of textualizing a performance event can often neglect or replace those aspects that appeared strange or unfamiliar with that which is knowable. This behavior in conjunction with intercultural performance can lead to notions of otherness and alterity being rea‰rmed. What Pavis's model attempts to do, in conjunction with Barba's research on theatre anthropology, is enable the spectator/critic, in the role of an ethnoscenographer, to explore those aspects that are culturally ambiguous or discrepant and seek new and/or di¤erent cultural perspectives. The eventual textual montage, while always partial, incorporates that which is known, as well as that which is beyond the Eurocentric gaze.

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The Location and Dislocation of Theatre

Cited by 4 publications

References 1 publication

Co-performing tourism places: The “Pink Night” festival

Co-performing tourism places: The “Pink Night” festival

Dead Geographies—And How to Make Them Live

Dreams and phantasms: Towards an ethnoscenological reading of the intercultural theatrical event

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