Hostname: page-component-7479d7b7d-fwgfc Total loading time: 0 Render date: 2024-07-09T01:14:38.687Z Has data issue: false hasContentIssue false
  • English
  • Français

A Second Take

On Performative Writing and Reading

Published online by Cambridge University Press:  03 June 2024

Peggy Phelan
Get access Rights & Permissions [Opens in a new window]

Abstract

In the 1990s, performative writing and reading attempted to disrupt the rhetorical and ideological structure of scholarly writing. Performative readings helped expose the ways in which scholarly claims to truth-telling—as in Clifford Geertz’s influential essay on the Balinese cockfight—obscured violent or oppressive rhetorical operations. While most performative writing and reading concentrated on the essay form, experiments with public lectures and creative adaptations of scholarly texts were also undertaken. The verve of performative writing and reading tapered off as other issues came to the fore.

Type
Article
Information
TDR , Volume 68 , Issue 2 , June 2024 , pp. 11 - 23
Copyright
© The Author(s), 2024. Published by Cambridge University Press for Tisch School of the Arts/NYU

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

References

Bottoms, Stephen. 2020. “Double Take: Unmarked: The politics of performance.” Theatre Research International 45, 2:209–12. doi.org/10.1017/S0307883320000097 Google Scholar
Brizzell, Cindy. 1998. “ARTNOW: A (Stumbling) Movement towards Arts Advocacy.” TDR 42, 1 (T157): 122–58. www.jstor.org/stable/1146650 Google Scholar
Butler, Judith. 1990. Gender Trouble: Feminism and the Subversion of Identity. Routledge.Google Scholar
Geertz, Clifford. 1972. “Deep Play: Notes on the Balinese Cockfight.” Myth, Symbol, and Culture. Daedalus 101, 1:1–37. www.jstor.org/stable/20024056 Google Scholar
Geertz, Hildred. 1961. The Javanese Family: A Study of Kinship and Socialization. The Free Press of Glencoe.Google Scholar
Geertz, Hildred. 2016. Storytelling in Bali. Brill.Google Scholar
Geertz, Clifford, and Geertz, Hildred. 1978. Kinship in Bali. University of Chicago Press.Google Scholar
Geertz, Clifford, Geertz, Hildred, and Rosen, Lawrence. 1979. Meaning and Order in Moroccan Society. Cambridge University Press.Google Scholar
Grant, Rena. 1992. “Getting Daddy Do It for You.” Lacanian Ink 6:55–65.Google Scholar
Grant, Rena. 1994. “Characterhysterics II: Repeating Oneself.” Lacanian Ink 8:72–83.Google Scholar
Harvie, Jen , and Weaver, Lois, eds. 2015. The Only Way Home Is Through the Show: Performance Work of Lois Weaver. Intellect Books.Google Scholar
Heathfield, Adrian. 2006. “Writing of the Event.” In A Performance Cosmology: Testimony from the Future, Evidence of the Past, ed. Christie, Judie, Gough, Richard , and Watt, Daniel, 179–82. Routledge.Google Scholar
Jameson, Fredric. 1972. The Prison-House of Language: A Critical Account of Structuralism and Russian Formalism. Princeton University Press.Google Scholar
Johnston, Jill. (1962) 1998. “Democracy.” In Marmalade Me (2nd ed.), 38–40. Wesleyan University Press. Originally published in The Village Voice, 23 August 1962. Reprinted in Critical Correspondence, 6 July 2012. movementresearch.org/publications/critical-correspondence/reprint-jill-johnstons-democracy-a-village-voice-review-of-judson-dance-theaters-historic-first-performance/ Google Scholar
Johnston, Jill. (1969) 1971. “Ergo Sum.” In Marmalade Me, 285–89. E.P. Dutton. Originally published in The Village Voice, 27 March 1969.Google Scholar
Mulvey, Laura. 1975. “Visual Pleasure and Narrative Cinema.” Screen 16, 3:6–18. doi.org/10.1093/screen/16.3.6 Google Scholar
Phelan, Peggy. 1990. “Serrano, Mapplethorpe, the NEA, and You: ‘Money Talks.’” TDR 34, 1 (T125):4–15. doi.org/10.2307/1145999 Google Scholar
Phelan, Peggy. 1991. “Money Talks, Again.” TDR 35, 3 (T131):131–41. doi.org/10.2307/1146139 Google Scholar
Phelan, Peggy. 1993. Unmarked: The Politics of Performance. Routledge.Google Scholar
Phelan, Peggy. 1997. Mourning Sex: Performing Public Memories. Routledge.Google Scholar
Phelan, Peggy. 1999. “Yvonne Rainer: From Dance to Film.” In A Woman Who…Essays, Interviews, Scripts, by Yvonne Rainer, 3–17. Johns Hopkins University Press.Google Scholar
Phelan, Peggy. (2000) 2020. “P.S.” In Kartographies for Jacques Derrida, ed. Kujundzic, Dragan. Originally a special issue of Tympanum 4 (July 2020). khora.site/phelan.htmlGoogle Scholar
Phelan, Peggy. 2002. “Francesca Woodman’s Photography: Death and the Image One More Time.” Signs: Journal of Women in Culture and Society 27, 4: 979–1004. doi.org/10.1086/339640 Google Scholar
Phelan, Peggy. 2004a. “Lessons in Blindness from Samuel Beckett.” PMLA 19, 5:1279–88. doi.org/10.1632/003081204X17842 Google Scholar
Phelan, Peggy. 2004b. “On Seeing the Invisible.” In The House with the Ocean View, ed. Abramović, Marina, 171–79. Charta and Sean Kelly Gallery.Google Scholar
Phelan, Peggy. 2004c. “Trisha Brown’s Orfeo: Two Takes on Double Endings,” In Of the Presence of the Body: Essays on Dance and Performance Theory, ed. Lepecki, Andre, 13–28. Wesleyan University Press.Google Scholar
Phelan, Peggy. 2005a. “Shards of a History of Performance Art: Pollock and Namuth Through a Glass, Darkly.” In A Companion to Narrative Theory, ed. Phelan, James and Peter, J. Rabinowitz, 499–512. doi.org/10.1002/9780470996935.ch34.Google Scholar
Phelan, Peggy. 2005b. “Helena Almeida: The Interior of Us.” In Intus, in Venice Biennale catalog, 62-90. Institute for the Arts.Google Scholar
Phelan, Peggy. 2007. “The Returns of Touch: Feminist Performances, 1960–1980.” In WACK: Art and the Feminist Revolution, ed. Butler, Connie. Museum of Contemporary Art, Los Angeles.Google Scholar
Phelan, Peggy. 2009a. “Dwelling.” In Out of Now: The Lifeworks of Tehching Hsieh, eds. Heathfield, Adrian and Hsieh, Tehching, 340–48. The MIT Press and Live Art Development Agency.Google Scholar
Phelan, Peggy. 2009b. “Haunted Stages: Performance and the Photographic Effect.” In Haunted: Contemporary Photography, Video, Performance, ed. Blessing, Jennifer and Trotman, Nat, 50–87. Guggenheim Museum.Google Scholar
Phelan, Peggy. 2010. “Moving Centers.” In Move: Art and Dance Since the 1960s, 18–34. Hayward Gallery.Google Scholar
Phelan, Peggy, ed. 2012. Live Art in LA: Performance in Southern California, 1970–1983. Routledge.Google Scholar
Phelan, Peggy. 2015. “Hypothetical Focalization and Queer Grief.” In Narrative Theory Unbound: Feminist and Queer Interventions, ed. Warhol, Robyn and Susan, S. Lanser, 78–97. The Ohio State University Press.Google Scholar
Phelan, Peggy. 2017. “Planning for Death’s Surprise: Pina Bausch and Merce Cunningham.” In The Oxford Handbook of Dance and Politics, ed. Rebekah, J. Kowal, Siegmund, Gerald, and Martin, Randy, 303–24. doi.org/10.1093/oxfordhb/9780199928187.013.13 Google Scholar
Phelan, Peggy. 2020. “Freedom.” Resilience: A Journal of the Environmental Humanities 7, 2–3:253–56. doi.org/10.5250/resilience.7.2-3.0253 Google Scholar
Phelan, Peggy. 2021. “Art-thinking: Mapping Stanford’s Creative Cities Project.” Arcade. arcade.stanford.edu/content/art-thinking-mapping-stanford%E2%80%99s-creative-cities-project Google Scholar
Phelan, Peggy, and Heathfield, Adrian. 2001. “Blood Math.” Cultural Studies 15, 2:241–58. www.adrianheathfield.net/ project/blood-math/Google Scholar
Phelan, Peggy , and Lane, Jill, eds. 1998. The Ends of Performance. New York University Press.Google Scholar
Phelan, Peggy , and Meyer, Richard, eds. 2018. Contact Warhol: Photography Without End. The MIT Press.Google Scholar
Phelan, Phelan. 2000. “Love’s Geography.” Performance Research 5, 3:86–89. doi.org/10.1080/13528165.2000.10871751 Google Scholar
Pollock, Della. 1998. “Performing Writing.” In The Ends of Performance, ed. Phelan, Peggy and Lane, Jill, 73–103. New York University Press.Google Scholar
Pollock, Della. 2007. “The Performative ‘I.’” Cultural Studies ↔ Critical Methodologies 7, 3:239–55. doi.org/10.1177/1532708606288649 Google Scholar
Saxon, Jamie. 2022. “Hildred Geertz, ‘incredibly accomplished scholar’ in cultural anthropology and ‘beloved founding figure’ as Princeton’s first female department chair, dies at 95.” Princeton University News, 13 October. www.princeton.edu/news/2022/10/13/hildred-geertz-incredibly-accomplished-scholar-cultural-anthropology-and-beloved Google Scholar
Sack, Daniel, ed. 2017. Imagined Theatres: Writing for a Theoretical Stage. Routledge.Google Scholar
Schmidt, Theron. 2018. “How We Talk about the Work Is the Work: Performing Critical Writing.” Performance Research 23, 2:37–43. doi.org/10.1080/13528165.2018.1464751 Google Scholar
Trotter, Mary. 1997. “The Fourth International Women Playwrights’ Conference.” Theatre Journal 49, 4:522–25. doi.org/10.1353/tj.1997.0114 Google Scholar
Turner, Victor. 1969. The Ritual Process: Structure and Anti-Structure. Routledge.Google Scholar
Yang, Luwei, Roy Barkan, Kaushik Srinivasan, McWilliams, James C., Shakespeare, Callum J., and Gibson, Angus H.. 2023. “Oceanic Eddies Induce a Rapid Formation of an Internal Wave Continuum.” Communications Earth and Environment 4, 484. doi.org/10.1038/s43247-023-01137-1 Google Scholar

TDReadings

Brizzell, Cindy. 1998. “ARTNOW: A (Stumbling) Movement towards Arts Advocacy. TDR 42, 1 (T157):122–58. www.jstor.org/stable/1146650 Google Scholar
Browning, Barbara. 2018. “The Performative Novel.” TDR 62, 2 (T238):43–58. doi.org/10.1162/DRAM_a_00747 Google Scholar
Phelan, Peggy, 1990. “Serrano, Mapplethorpe, the NEA, and You: ‘Money Talks.’” TDR 34, 1 (T125):4–15. doi.org/10.2307/1145999 Google Scholar
Phelan, Peggy. 1991. “Money Talks Again.” TDR 35, 3 (T131):131–41. doi.org/10.2307/1146139 Google Scholar
Phelan, Peggy. 1995. “Performing Ends.” TDR 39, 4 (T148):184–87. doi.org/10.2307/1146494 Google Scholar
Sunde, Sarah Cameron. 2023. “36.5/New York Estuary.” TDR 67, 1 (T257):2–3. doi.org/10.1017/S1054204322000673 Google Scholar