it's because we don't just theorize exhibitionism, we perform it

  • ht: everyone in performance studies is really attractive
  • kj: yeah

br: ann singing in the bathtub, as promised. 

kj: I CANT I CANNOT I AM PUTTING THIS ON MY TUMBLR RIGHT NOW. 

(general fyi: ann, with the cocktail, may be the originator of “radical vulnerability,” though maybe she got it from adam phillips, and then i think i #hijacked it. one of the first days of my MA program barbara, in the white dress, opened a lecture by telling us in her sweet, gentle way, “well, i’m a narcissist, so….”)

(HOME.)

"the question is not: is it true? but: does it work? what new thoughts does it make it possible to think? what new emotions does it make it possible to feel? what new sensations and perceptions does it open in the body?"

brian massumi, foreword to a thousand plateaus  (via rhizombie). i swoon a little when people tell me they don’t care about truth claims. 

bestsparkler:

Because the other day I came across the unattributed, unexplained, just copied & pasted, syllabus that a friend of mine put on her tumblr earlier this year, I’m a little reticent to upload here the description, structure, and thematic clusters I’ve designed for the course I’ll teach next semester. I also trust that I can get away without providing too much guidance on the logic of the course, what with it being an intro to my field. So, below is an alphabetically-organized list of authors and their texts that will help me introduce some undergrads to Performance Studies as I see it in the years 2011 and, barring a few inevitable changes, 2012. The clusters of readings and general flow of the semester are the best parts, I think, and both I see are unfortunately very, very lost now in the possibly stuplime (maybe just stupid) list of authors. If you want to see the actual syllabus, send me a personal message.

Read More

26 Nov 2011 / Reblogged from bestsparkler with 11 notes / performance studies 

i worked so hard to get into my program—in an identity-work kind of way—that i can’t imagine ever taking it for granted. but if i did, i would just watch this video over and over and be like THAT’S MY ADVISOR playing amy winehouse on the ukelele. as nik said on facebook, “when i’m scared, i take a deep breath and intone, ‘i am barbara browning.’” jeanne sometimes accuses me of believing in magic, which i do, but i don’t think she would mind if i said that spending a semester listening to barbara lecture on freud, marx, and lesbian dildos was one of the most magical experiences of my life. 

(miss-zeezee) this is the cover i had! only mine was in shades of purple. i have been waiting for someone to post this. a professor once told me that no matter what are you there god? says, she had never actually known any girl who couldn’t wait to get her period. i was like, “i could not wait to get my period. i checked constantly, every day, for over a year.” she looked totally shocked, and i felt self-satisfied, since it’s nearly impossible to shock my professors, unless you tell them you are a republican or aren’t into justin bond or something. 

(miss-zeezee)

this is the cover i had! only mine was in shades of purple. i have been waiting for someone to post this.

a professor once told me that no matter what are you there god? says, she had never actually known any girl who couldn’t wait to get her period. i was like, “i could not wait to get my period. i checked constantly, every day, for over a year.” she looked totally shocked, and i felt self-satisfied, since it’s nearly impossible to shock my professors, unless you tell them you are a republican or aren’t into justin bond or something. 

a weekend to look forward to?

  • ap: we can take the HOV lane to hammertown
  • we'll get like a bottle of liquor
  • kj: YES LETS DO IT OKAY
  • okay yes
  • ap: i'll bring over my marianne moore and elizabeth bishop poetry
  • we can perform lesbian poetry

whateverjeanne: I’m inspired by the poignancy of all those o.b. tampons to post a picture of my prized stayfree/carefree/playtext machine. It sits in my office, below a Redykulous print and to the left of some doll heads/hands and the extra large knitting needles I made out of plumbing tube and wood dowels. I swiped this machine from the 6th floor of Tisch a few years ago, when the space was under renovation. It was so heavy and difficult to get out of the building, past the security guards, and into my car down the street. There are still tampons, maxis and panty liners in it (and a lot of quarters), although I always forget that and end up making makeshift period products out of socks and too much tissue paper.  i cannot believe that jeanne stole this from our department. what i mean is: im impressed. also, we should all talk more about the makeshift products. 

whateverjeanne:

I’m inspired by the poignancy of all those o.b. tampons to post a picture of my prized stayfree/carefree/playtext machine. It sits in my office, below a Redykulous print and to the left of some doll heads/hands and the extra large knitting needles I made out of plumbing tube and wood dowels. I swiped this machine from the 6th floor of Tisch a few years ago, when the space was under renovation. It was so heavy and difficult to get out of the building, past the security guards, and into my car down the street. There are still tampons, maxis and panty liners in it (and a lot of quarters), although I always forget that and end up making makeshift period products out of socks and too much tissue paper. 

i cannot believe that jeanne stole this from our department. what i mean is: im impressed. also, we should all talk more about the makeshift products. 

23 Feb 2011 / Reblogged from whateverjeanne with 8 notes / menstrual art performance studies 

HOLD IT AGAINST ME: DIFFICULTY, EMOTION, AND CONTEMPORARY ART

(Source: whateverjeanne)

4 Feb 2011 / Reblogged from whateverjeanne with 1 note / performance studies 

(via metrocentric) Every Part of Me’s Bleeding (Freiburg im Breisgau) one of my favorite re-performances. i am so excited for this class next semester.  Topics in Critical Theory: Repeating, Rehearsing, Re-enacting, Re-Performing Andre Lepecki In recent years artistic practices from dance to theater, from the visual arts to film, from performance art to literature, have all endured an “archival fever” (Derrida) or “archival impulse” (Hal Foster). In this generalized drive to archive, a pervasive will to re-enact has emerged as a crucial device in live performance. Indeed, it could be said that contemporary performance lives under the sign of its re-enactment. In this course we will investigate the temporal and critical forces that re-enacting, re-performing, re-doing brings to theories and practices of performance. The course will engage with writings in performance studies directly addressing issues of re-performing and re-enacting (Richard Schechner, Rebecca Schneider, Adrian Heathfield, Ramsey Burt, Mark Franko, Amelia Jones) in order to critically address specific case studies in recent performance art and dance. The philosophical line weaving all the readings and case studies will be Gilles Deleuze’s Difference and Repetition, which we will read closely throughout the semester.

(via metrocentric)

Every Part of Me’s Bleeding

(Freiburg im Breisgau)

one of my favorite re-performances. i am so excited for this class next semester. 

Topics in Critical Theory: Repeating, Rehearsing, Re-enacting, Re-Performing

Andre Lepecki

In recent years artistic practices from dance to theater, from the visual arts to film, from performance art to literature, have all endured an “archival fever” (Derrida) or “archival impulse” (Hal Foster). In this generalized drive to archive, a pervasive will to re-enact has emerged as a crucial device in live performance. Indeed, it could be said that contemporary performance lives under the sign of its re-enactment. In this course we will investigate the temporal and critical forces that re-enacting, re-performing, re-doing brings to theories and practices of performance. The course will engage with writings in performance studies directly addressing issues of re-performing and re-enacting (Richard Schechner, Rebecca Schneider, Adrian Heathfield, Ramsey Burt, Mark Franko, Amelia Jones) in order to critically address specific case studies in recent performance art and dance. The philosophical line weaving all the readings and case studies will be Gilles Deleuze’s Difference and Repetition, which we will read closely throughout the semester.