1st Edition
Performing Interdisciplinarity Working Across Disciplinary Boundaries Through an Active Aesthetic
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Performing Interdisciplinarity proposes new ways of engaging with performance as it crosses, collides with, integrates and/or disturbs other disciplinary concerns. From Activism and Political Philosophy to Cognitive Science and Forensics, each chapter explores the relationships between performance and another discipline.
Including cross-chapter discussions which address the intersections between fields, Performing Interdisciplinarity truly examines the making of meaning across disciplinary conventions. This is a volume for performance practitioners and scholars who are living, learning, writing, teaching, making and thinking at the edges of their specialisms.
List of Contributors
Acknowledgements
Foreword - Claire Colebrook
Introduction
Experience Bryon
Part I
active aesthetic: Knowledge Performing
Experience Bryon
Part II
virtual: Performance and Digital
Joanne Scott
Cross-Chapter Discussion: virtual & mediation
mediation: Performance and Installation Art
Luis Campos
Cross-Chapter Discussion: mediation & utopia
utopia: Performance and Social Geography: shattering the real with utopian dreams
Selina Busby
Cross-Chapter Discussion: utopia & role
role: Performance and Pedagogy
Jessica Hartley
Cross-Chapter Discussion: role & embodiment
embodiment: Performance and Cognitive Science
Deirdre Mclaughlin
Cross-Chapter Discussion: embodiment & story
story: Performance and Psychology
Antonia Batzoglou
Cross-Chapter Discussion: story & virtual
visibility: Performance and Activism
Nando Messias
Cross-Chapter Discussion: visibility & ‘the subject’
‘the subject’: Performance and Political Philosophy
Rachel Cockburn
Cross-Chapter Discussion: ‘the subject’ & voice
voice: Performance and Forensics
Konstantinos Thomaidis
Cross-Chapter Discussion: voice & visibility
Index
Biography
Experience Bryon, PhD, is a performance practitioner and Senior Lecturer at the Royal Central School of Speech and Drama. She specialises in Practice as Research, interdisciplinary performance practice(s), physical/vocal praxis, and performance as it engages across disciplines. She is also author of Integrative Performance: Practice and Theory for the Interdisciplinary Performer (Routledge 2014).
'This work offers a radical intervention in the ways we evaluate, measure and capture knowledge as it crosses disciplinary boundaries; a thought-provoking and engaging text.'
J. Mark Bishop, Director of The Centre for Intelligent Data Analytics, Goldsmiths, University of London'This collection brings interdisciplinarity to performance studies with exciting results. In an intriguing series of essays on voice, space, story-making, digital media and other subjects, the contributors skilfully combine theory with urgently personal writing and embodied practice.'
Joe Moran, Liverpool John Moores University'Bryon proposes that performance practice is both a self-reflexive mode of knowledge, and one in which meaning arises in the interplay of subjects, activity and environment. This idea resonates strongly with cognitive neuroscience’s concept of enactivism, and is illustrated by contributions from a wide array of disciplines. These support Bryon’s contention that the scholarship of performance studies imposes irrelevant criteria on "performance" to make it a static object of study, while neglecting its embodied meaning in process.'
Rick Kemp, Head of Acting and Directing, Indiana University of Pennsylvania and author of Embodied Acting: What Neuroscience Tells Us About Performance
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