Detailed Course Schedule

B. Llana
LIT769M/D Introduction to Performance Studies of Literature Term 1 2013-2014 / S 800-1115, M316 Arts

Instructor: Jazmin
Department College of Liberal

We ek
1 2

Date
June 1 June 8

Topic
Orientation Introduction What is Performance? What is Performance Studies?

Readings

Discussion Leader

June 15

June 22

Theory 0 What is Performance? What is Performance Studies? Theory 1 Origins: play, ritual, and proto-theatre Mimesis and Action: presentation/ representation, event, dramaturgy Performativity and the performance of everyday life

Richard Schechner, What is Performance in Performance Studies: An Introduction (2002), 22-44. Various articles in The Performance Studies Reader (2007): Bial, Introduction, 1-4 Bial, What is Performance Studies? 5-6 Schechner, The broad spectrum approach, 7-9 McKenzie, The Liminal Norm, 26-31 Kirshenblatt-Gimblett, Performance Studies, 43-55 Marvin Carlson, Introduction: What is Performance? in Performance: a critical introduction (2004), 1-7. Llana, Cultural Performance keyword essay (PDF) ALTERNATIVE CLASS: Reading and Independent Research; writing of plan and abstract proposal on the final paper Schechner, Approaches in Performance Theory, 2nd Ed. (2003), 1-25 Schechner, Actuals in Performance Theory, 2nd Ed. (2003), 26-65. Victor Turner, Liminal to Liminoid, in Play, Flow, and Ritual in Ritual and Theatre: The Human Seriousness of Play (New York: PAJ Publications, 1982), 20-60; also in Counsell and Wolf 2001, 202-209.

Jannet Mangabang Menchie Caridad Jen Arroyo

Lystra Aranal

 Turner, Frame, Flow and Reflection: Ritual and Drama as Public Liminality (PDF) Goffman, Performances: Belief in the part one is playing in Bial 2007, 59-53 Goffman, The Frame in Counsell and Wolf 2001, 24-29 Huizinga, Nature and Significance of Play in Bial 2007, 117-120. Bateson, A theory of play and fantasy in Bial 2007, 121-131 J.L. Austin, How to do things with words: Lecture II in Bial 2007, 147-153. Parker and Sedgwick, Introduction to Performativity and Performance in Bial 2007, 167-173. Butler, Performative Acts and Gender Constitution in Bial 2007, 154-166. Adrian Kear, Thinking out of time: Theatre and the ethic of interruption, PR 9(4), 99-110. Diana Taylor, Chapter One, Acts of Transfer, The Archive and Repertoire (Durham: Duke UP, 2003), 1-52. Rustom Bharucha, Towards Tomorrow? in A performance cosmology: Testimony from the future, evidence of the past (2006), 216-228. Yi-Fu Tuan, Enacting Space in Counsell and Wolf 2001, 156-163. Jeanie Forte, Focus on the body: pain, praxis, and pleasure in feminist performance in Critical theory and performance (2007), 248-262. Peggy Phelan, Broken symmetries and Ontology of performance in Unmarked (1993), 1-33, 146-166 (PDF) Jacques Ranciere, The Emancipated Spectator (2004) (PDF) Kelleher, Theatre and Politics

Ato Maligaya

Jaycee Avelino Janette Calimag Diana Palmes Voltaire Villanueva Niko Felix Alma Bautista

June 29

Theory 2 Space: site, place, location, architecture Time: presence, disappearance, historicity Body: embodiment, materiality

July 6

Theory 3 Ethics, Aesthetics, and Politics: participation,

engagement, agency, relationality, spectatorship

July 13

Research 1 Analysis of Live Performance Performance Archives and Documentation Practice-based Research

July 20

Research 2 Fieldworks: Ethnography, Interviews, Observation

(2009) Ridout, Theatre and Ethics (2009) Reinelt, Theatre and politics: Encountering Badiou in PR 9(4): 87-94 Kear, Participation videoYou Tube Prendergast and Saxton, Participation, aesthetics, ethics, and assessment in Applied Theatre (2009), 187202. Amelia Jones, Presence in absentia: experiencing performance as documentation (1997), 11-18 Pavis, Analyzing performance (2003), Baz Kershaw, Performance Practice as Research: Perspectives from a Small Island (2009) Piccini, An historiographic perspective on practice as research (2002) http://www.performancewales.org/ Conquergood, PS Interventions and Radical Research (2002) (PDF) Llana, Ethnographic Coperformance (2010) (PDF) Kirshenblatt-Gimblett, Introduction, Objects of Ethnography in Destination Culture (1998), 1-13, 17-78. Geertz, Clifford, Thick description in The interpretation of cultures (1973), 3-30. Geertz, Clifford, Deep play: notes on the Balinese cockfight. The interpretation of cultures: selected essays (1973), 412-53. Schneider, Mark A. (1987), Culture-as-Text in the Work of Clifford Geertz, Theory and Society 16, no. 6: 809-39.

July 27

Research 3 Practice Session: Performance 3

10

Aug 3

Research Practice 1 Religious Performance Performance, Identity, Culture, Indigeneity, and Nation

11

Aug 10

Practice 2 Intercultural Performance and Globalization Performance, Media, and Technology Performance and Education Performance Art

Alcedo, P. (2007). Sacred Camp: Transgendering Faith in a Philippine Festival. Journal of Southeast Asian Studies 38, 107-132. Videos on the Sinulog Tiatco (2008), Celebrating in the waters and frolicking with St. Peter in PHR 10, 91-104. De la Paz, C. (2008), Poon at panata: sining at paniniwala sa Mahal na Senyor ng Lucban, Quezon in PR 10, 105-120. Kirshenblatt-Gimblet, Destination Museum in Destination Culture (1998), 131176 De la Paz, C. (2011). The appropriation of local culture in museum practices: problems and possibilities for Philippine communities, in Suri Sining, 152-168. De Leon, Felipe Jr. (2011), Cultural Identity and Development in Suri Sining, 127-141 Schechner, Global and intercultural performance in PS: An introduction (2002), 226272. Gomez-Pena, Culturas-inextremis: performing against the cultural backdrop of the mainstream bizarre in Bial (2007), 287-298. Gilbert and Lo, Introduction: performing cosmopolitics in Performance and cosmopolitics (2007), 1-14. Auslander, Live performance in a mediatized culture in Liveness (2008), 10-72. Nicholson, Helen, Learning in theatres and participation in theatre: cool spaces? Theatre, education, and performance (2011), 198-214. Carlson, Performance Art in 4

12

Aug 17

Critique 1 Performance and the politics of culture Imperialism and performance studies Misperformance

13

Aug 24 Aug 31

Practice 3 Performance Studies Philippines Practice 4 Making the performance turn, joining the conversation

14

Performance: a critical introduction, 110-134 Schechner, The five avantgardes oror none? in Huxley and Witts (2002), 342-358. Goldberg, Roselee, Performance art from futurism to the present in Huxley and Witts (2002), 212-215 Goldberg, Introduction in Performance: Live art since the 60s (1998) (PDF) Legaspi-Ramirez, Eileen, Power and performativity: the case of Tupada in PHR 10, 15-32. Bharucha, R. (2004). Reclaiming the Right to Performance: Axioms and evidence in search of the new international in PR 9(4), 3-17. Bharucha, R. (1993). Theatre and the world: Performance and the politics of culture Roms, McKenzie, and Wee, Introduction: Contesting performance in an age of globalization in Contesting performance (2010) (PDF) ALTERNATIVE CLASS: Participation in Pagtitipon/Gathering: The First Conference on Performance Studies in the Philippines FINAL COURSE OUTPUT: Paper Presentations