The Politics of Discourse: Performativity meets Theatricality

Reinelt, Janelle

doi:10.1353/sub.2002.0037

Cited by 28 publications

(6 citation statements)

References 17 publications

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“…See http://www2.warwick.ac.uk/fac/soc/pais/ research/gcrp/ 2 However, I hope PPF can also help with analyses of the performance repertoires of social movements and the politics of the everyday. 3 I use the terms 'performance' and 'performativity' in the following ways: Performance is an action or event that is relational, reflexive and self-conscious (Schechner, 2006); performativity is a philosophical term, following J. L. Austin and Judith Butler, to mark the efficacy, success or failure of performance at achieving its intended effects (Reinelt, 2002). 4 A similar attention to the non-fixability of identity and the deployment of excess and the grotesque to move between identity/spaces of the post-colony/colonial is found in Achille Mbembe's (1992) work.…”

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confidence: 99%

“…3I use the terms ‘performance’ and ‘performativity’ in the following ways: Performance is an action or event that is relational, reflexive and self-conscious (Schechner, 2006); performativity is a philosophical term, following J. L. Austin and Judith Butler, to mark the efficacy, success or failure of performance at achieving its intended effects (Reinelt, 2002). …”

Section: Notesmentioning

confidence: 99%

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Political Performance: A Framework for Analysing Democratic Politics

Shirin

2014

Political Studies

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This article develops a framework to examine the co-constitutive nature of performance and politics and to suggest that such a framework is critical to promoting an interdisciplinary approach to understanding our complex political world. It does this by disaggregating the component parts of political performance and suggesting how, once these are made visible, we are able to reflect upon more complex processes of its re-aggregation into our analysis of politics. The framework is constituted along two axes -one that maps individual performance, which is nevertheless socially embedded; and the other that charts the political effects of performance. The framework allows us to reflect upon social and political institutions, movements and events and analyse these through the prism of performance and politics. The empirical core of the article is the Indian parliament. 'Cleggmania. ... One sure-footed TV performance, and the Lib Dem leader [Nick Clegg] has transformed the election campaign,' headlined The Independent in April 2010 (Merrik, 2010). Several things contributed to this performance: he took the time to rehearse his presentation; he had a clear message -a challenge to a two-party system that is failing the electorate; he spoke to the audience -both in the room and through television -by calling people by their first names and by looking directly into the cameras; and his delivery of the Clegg/Lib Dem package came across as credible -he was seen as 'sincere', without political artifice. His performance built on public cynicism of politicians but went further with glimpses of a positive alternative (Merrik, 2010). The performance worked; it convinced his audiences, invoked new audiences and delivered at the ballot box a result that few would have expected before that first debate. Did Clegg's performance alone make possible this seismic shift in British politics? Has the impact been a lasting one? Of course, the political backdrop to this performance cannot be overlooked, but it did underline the fact that performance matters in and to politics. Perhaps it is because the role of performance is so often overlooked in political analysis that the effect of Clegg's performance surprised many students of British politics.I have been studying the importance of ceremony and ritual in parliament, through which we can trace the circulation of meanings, the particularity of institutional cultures and the sedimentation of power in political institutions (Rai, 2010). This alerted me to the importance of performance in and to politics, which can be broadly defined as the distribution of power, and, specifically, how the changes over time in the social profile of parliaments 1 are reflected in the political performances conducted within them. In this article I develop a framework for reading political performance in institutional politics -in this case, the social organisation of governance such as parliaments 2 (Lowndes and Roberts, 2013). In this context I define the term 'political performance' as those performances that ...

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confidence: 99%

Section: Notesmentioning

confidence: 99%

Political Performance: A Framework for Analysing Democratic Politics

Shirin

2014

Political Studies

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In recent years, there has been an increasing body of work that explores disability and performance (for example, Sandahl and Auslander 2009;Henderson and Ostrander 2010;Kuppers 2011Kuppers , 2013Hadley 2014). There is also an emerging body of work on theatre and disability (Johnston 2016) that falls under the theatrical in the American sense of theatricality (and anti-theatricality) as outlined by Reinelt (2002).However, if we take the view of Josette Féral that theatricality is a dynamic of perception, creating a special condition theatricality between the spectator and the one looked at (the actor) (1998: 358), it is not just about the 'performance' of disability as processes of performing and valuing the processes of signification in performance of the subject in process that are important. It is not just about cultural performance or a post-cultural critique of agency and subjectivity: the 'scenes of development' of performance, performative and performativity as outlined by Reinelt (2002: 201).

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confidence: 99%

“…In recent years, there has been an increasing body of work that explores disability and performance (for example, Sandahl and Auslander 2009;Henderson and Ostrander 2010;Kuppers 2011Kuppers , 2013Hadley 2014). There is also an emerging body of work on theatre and disability (Johnston 2016) that falls under the theatrical in the American sense of theatricality (and anti-theatricality) as outlined by Reinelt (2002).…”

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On Theatricality and the Space Between

Goddard¹

2019

Performance Research

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“…1 1 Voir, entre autres, Sarrazac 2002, 57–72 ; Gran 2002, 251–264 ; Reinelt 2002, 201–215 ; Moriarty 1997, 3–13 et Scheie 2000, 161–181. …”

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Roland Barthes et théâtralité

Thobo-Carlsen

2006

Orbis Litterarum

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L'intérêt de Roland Barthes pour le théâtre n’était pas précisément liéà la pièce, ni à l’œuvre littéraire, ni au drame comme genre classique, mais plutôt àla théâtralité. La publication de ses Écrits sur le théâtre (2002) en témoigne. C'est aussi ce qui relie l’œuvre de sa vie, « au carrefour de toute l’œuvre, peut‐être le théâtre ». Cet article est né afin de mettre en lumière l'apport des textes de théâtre dans la pensée profonde de l’œuvre de Roland Barthes. Il se base sur la relation ambivalente que Roland Barthes conçoit pour le théâtre, son intérêt personnel et passionné pour le théâtre comme animateur, professionnel tant dans son savoir que dans sa formation dans la tragédie classique. Mais l'article se concentre surtout sur l'influence que la dramaturgie de Bertolt Brecht a eu non seulement sur sa relation avec le théâtre, mais aussi sur la consolidation de l’éthique de la théâtralité ou de la performativité, noyau de son œuvre théorique et analytique.

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The Politics of Discourse: Performativity meets Theatricality

Cited by 28 publications

References 17 publications

Political Performance: A Framework for Analysing Democratic Politics

Political Performance: A Framework for Analysing Democratic Politics

On Theatricality and the Space Between

Roland Barthes et théâtralité

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