The Unfinished Art of Theater Avantgarde Intellectuals and Mass Publics in Mexico and Brazil

Most widely held works past Jill Lane

The ends of performance by Peggy Phelan( Book )

12 editions published between 1988 and 1998 in English and held past 462 WorldCat member libraries worldwide

The broadest and about inclusive volume to appointment, The Ends of Performance both celebrates and critiques the institutionalization of the field. Only recently has the field given keen attention to the interpretive force and consequences of performance events, and it is these consequences that The Ends of Functioning articulates. Here functioning studies illuminates the circuitous social and cultural formations of our time - the impact of virtual technology, the racialized discourses of legal and cultural citizenship, the impact of new medical discourses, and the medicalization of the trunk

Blackface Republic of cuba, 1840-1895 by Jill Lane( Volume )

10 editions published in 2005 in English and held past 342 WorldCat fellow member libraries worldwide

"Comparing the teatro bufo to related forms of racial representation, peculiarly those created by black Cubans in theatres and in the press, Lane analyzes performance equally a grade of social contestation through which an emergent Cuban national community struggled over conflicting visions of race and nation."--Jacket

Across saccharide shock : the six-week program to interruption free of your sugar addiction & get slimmer, sexier, & sweeter by Connie Bennett CHHC CPC ACC( Book )

two editions published in 2012 in English language and held by 197 WorldCat fellow member libraries worldwide

Outlines a step-by-step, half-dozen-week program to kick sugar and carbohydrate addictions, leading to a healthier, happier life

Populating the Possible Republic: Representations of the People, the Public, and the Pop Masses in Alberdi'southward Literature by Ma. Isabel Roces Guevara( )

ane edition published in 2011 in English and held by 55 WorldCat member libraries worldwide

The first chapter examines Alberdi'south La Moda articles (1837 -- 1838) alongside the periodical writings of Larra and Franklin. Such a handling exposes how he employs the journalistic medium to mediate between conflicting notions of the public and the popular, while maintaining a firm distinction between representative and demagogic leadership. Chapter ii considers La Revolucion de Mayo (1839) in the context of the historiographical debates on the revolution's 'popularity.' This supremely unperformable play, I propose, yields an unlikely--perhaps shocking--lesson on the stakes of political representation nether cover of what appears to be a approved liberal account of the May Revolution. The third chapter, all-time read in conjunction with the latter, further teases out the concept of representation in Gigante Amapolas (1841). In light of Plato's and Rousseau's critiques of theatricality, I suggest that Alberdi uses the very best resources of theater to proscribe theatricality from the realm of politics. Finally, chapter four deliberates on the matter of political voice and public speech in Peregrinacion de Luz del Dia (1871), arguing that the novel offers a balanced cess of the significance of the rhetorical arts. More than Aristotelian than Ideal, Alberdi shows that while rhetoric can certainly be used to deceive the masses, it is however a necessary tool for public advice, which cannot rely on rational discourse lone

The unfinished art of theater: Avant-garde intellectuals and mass publics in United mexican states and Brazil past Sarah J Townsend( )

1 edition published in 2010 in English and held by 55 WorldCat member libraries worldwide

Chapter i begins with a critical genealogy of the ensayo (an essay, simply also a rehearsal or sketch) and offers a novel interpretation of Jose Vasconcelos's theory of the cosmic race through the lens of his play Prometeo vencedor and the "theater-stadium" he built every bit director of the Secretaria de Educacion Publica. Chapter 2 focuses on the Semana de Arte Moderna, Brazilian modernismo'southward foundational consequence. Information technology draws out the queer performativity of Mario de Andrade and its connections to opera, theorizing both in relation to Roberto Schwarz's notion of liberalism in Brazil as an idea "out of place." In affiliate iii I explore the afterlife of the ephemeral estridentista move and illuminate tensions in the Communist Left's practice of avant-garde didactics by tracing connections between radio and puppetry in the thirties. I cease by taking issue with total theater, a soapbox that has driven the belated canonization of Oswald de Andrade'due south plays. Through a reading of his 1933 "spectacle in nine tableaux" and the events surrounding its non-performance, I point toward an alternative model of envisioning the Latin American avant-gardes--one that illuminates their role in political and economic processes that played out beyond the globe

Blossom, alex and the renaissance rabbit past Jill Lane( )

two editions published in 2012 in English and held past 14 WorldCat member libraries worldwide

Embodied ethnographies: Women'southward piece of work between art and the field by Jennifer Cayer( )

1 edition published in 2008 in English and held past 4 WorldCat member libraries worldwide

My dissertation, Embodied Ethnographies: Women'southward Work Between Art and the Field, explores performance works that borrow from, and claiming, the ethnographic project of writing and representing otherness. It focuses on the work of women artists in the Americas who are doing experimental ethnographic work via theatre, performance, and visual art that is grounded in the body. Each artist uses operation as an culling ethnographic do to convey the structure of cultural bodies of knowledge. Zora Neale Hurston, uniquely situated as a trained anthropologist and a prolific playwright, introduces theater as an alternative and embodied ethnographic practice. Hurston's own participant-observer process and beliefs in the fluidity and collectivity of culture were more potently rendered in the live and intersubjective space of the theater. Peruvian theater collective, Yuyachkani perform as if indigenous, and claiming written ethnography past projecting writing upon the dancing performer's body as a visible, notwithstanding ultimately illegible phenomenon. Ana Mendieta, a Cuban-born U.South. based visual creative person researched and drew from a broad-ranging repertoire of ritual spaces, practices, and archetypes in her work. I argue how these ties to anthropology and adaptive play with ritual elements coalesce in her ephemeral functioning work to reveal a critique of ethnographic representation. My objective, to chart a relationship betwixt theater and ethnography that focuses on functioning as a revealing methodology, is met through in-depth readings and comparisons of these exemplary cultural and aesthetic projects. Through them, I track the innovative and disparate threads that link each artist to the social and creative practice that I call embodied ethnography

In the outcome of performance: Media, embodiment, and politics in the Americas past Marcela Alejandra Fuentes( )

ane edition published in 2008 in English and held by 4 WorldCat member libraries worldwide

My dissertation, "In the Event of Operation: Media, Embodiment, and Politics in the Americas" shows how performance--simply understood as embodied, structured behavior--allows new ways of social intervention that challenge previous notions of 'political efficacy.' I explore the way in which, in the Americas, artists and even ordinary citizens are turning to operation as a means to intervene in abusive weather. The performances studied here work simultaneously online and offline to accost transnational issues to transnational audiences. These actions are important sites for a reconsideration of the function of bodily presence and locatedness within online and offline circuits of transmission. The performances studied hither--the virtual sit ins past The Electronic Disturbance Theater in collaboration with the Zapatistas, the screen and street performances past the Surveillance Camera Players' (SCP) and Coco Fusco's in response to surveillance control; and the creative and activist interventions within the Argentinean economic crisis--are paradigmatic examples of cultural production that invite a redefinition of gimmicky political activeness through theories of operation and the politics of embodied behavior. These performances of dissent are core cases for a afterthought of the role of actual presence within current democracies. In these actions, simulation, theatricality, and parody are the main tactics through which their agents constitute the 'event' that contests the politics of erasure and subjugation. One of the primal contributions of this dissertation has to do with expanding the notion of embodied presence in relation to supposedly disembodied, mediated performance. Through my case studies, I explore the ways in which artists and activists rehearse different renderings of bodily presence in dissimilar media in social club to not only disturb the weather of hegemonic power but too to build new instances of political participation. The study of these performances and their corresponding notion of multi-sited and multilayered politics leads usa to recognize the way in which not only (material) bodies but too (symbolic) representation prove instrumental in opening upwards new political strategies and outcomes that extend political gestures beyond identities marked by territorial bonds

Interview with Jill Lane : what is performance studies? ( Visual )

one edition published in 2007 in English language and held by 3 WorldCat member libraries worldwide

Jill Lane is Associate Professor of Spanish and Portuguese at New York University, where she teaches courses on operation in the Americas, in relation to the histories of colonialism, neocolonialism, and globalization. Her book, Greasepaint Republic of cuba, 1840-1898 (University of Pennsylvania Press, 2005) examines racial impersonation, national want, and anticolonial sentiment in Republic of cuba. She is soon editing an album on Latin American performance with Routledge, and is co-editor with Peggy Phelan of The Ends of Functioning (New York University Press, 1998)

Interview with Danny Hoch ( Visual )

1 edition published in 2007 in English and held by 3 WorldCat member libraries worldwide

Interview with Danny Hoch, conducted by Jill Lane as a role of the 6th Encuentro of the Hemispheric Establish of Operation and Politics, celebrated in June of 2007 in Buenos Aires, Argentina nether the title CORPOLÍTICAS en las Américas: Formaciones de Raza, Clase y Género / Trunk Politics in the Americas: Formations of Race, Class and Gender (http://hemi.nyu.edu/eng/seminar/2007/index.html). Danny Hoch (world wide web.dannyhoch.com) is an actor, playwright and director. He is besides the founder of the Hip-Hop Theatre Festival, a senior fellow at the Vera List Eye For Fine art & Politics, and he sits on the board of Theatre Communications Grouping, United States

Interview with Teresa Ralli ( Visual )

one edition published in 2000 in Spanish and held by iii WorldCat member libraries worldwide

Interview with Teresa Ralli, founding member of Grupo Cultural Yuyahckani, conducted by Diana Taylor in the context of the first Encuentro of the Hemispheric Institute of Performance and Politics, held at Rio de Janeiro, Brazil in 2000. Ralli discusses the role of women in Yuyachkani in the context of issues of politics and gender in Peru. Topics covered include womens role in society, the difficulty of making a living as professional female theater practitioners, and how the women artists work with Yuyachkani provides them with a space for self-reflection about these roles and too the space to play with/challenge them. For the artist, theater has been a space for personal growth, aesthetic exploration, and social intervention. Teresa talks about the coaction between Yuyachkanis workshops with Peruvian women (dealing with bug of sensibility, bodily awareness, and memory), their theater performances, and their political activism in Peru, both in terms of the internal workings of Yuyachkani and with their audition. She comments on the Encuentro Nacional de Actrices (a briefing/outcome that brought together diverse Peruvian female performers of Republic of peru), the commemoration of the Primer Festival Teatro Mujer (the first major theater festival by women in Peru), the creative and political surround surrounding the cosmos of Yuyachkanis all-women slice La primera cena (directed by Ralli), and the part Peruvian women play in the creation and operation of her 1-adult female piece Antígona. Perus nearly important theater collective, Grupo Cultural Yuyachkani has been working since 1971 at the forefront of theatrical experimentation, political performance, and collective creation. The theater group has devoted itself to the commonage exploration of embodied social retentivity, particularly in relation to questions of ethnicity, violence, and memory in Peru, with a strong commitment to grass-roots community issues, mobilization, and advocacy

Interview with Michelle Matlock ( Visual )

1 edition published in 2007 in English and held by three WorldCat fellow member libraries worldwide

Interview with Michelle Matlock, conducted by Jill Lane every bit a part of the 6th Encuentro of the Hemispheric Institute of Performance and Politics, celebrated in June of 2007 in Buenos Aires, Argentine republic under the title CORPOLÍTICAS en las Américas: Formaciones de Raza, Clase y Género / Body Politics in the Americas: Formations of Race, Class and Gender (http://hemi.nyu.edu/eng/seminar/2007/alphabetize.html). Michelle Matlock (www.themammyproject.com) is a native of Washington Land, United States. She graduated from the National Shakespeare Conservatory in New York City. She began developing her debut solo show The Mammy Project in 2001

Latin American theater and performance by Jill Lane( )

in English language and held by iii WorldCat member libraries worldwide

Interview with Coco Fusco ( Visual )

ane edition published in 2007 in English and held by 3 WorldCat member libraries worldwide

Interview with Coco Fusco, conducted by Jill Lane equally a office of the 6th Encuentro of the Hemispheric Institute of Functioning and Politics, celebrated in June of 2007 in Buenos Aires, Argentina nether the title CORPOLÍTICAS en las Américas: Formaciones de Raza, Clase y Género / Body Politics in the Americas: Formations of Race, Course and Gender (http://hemi.nyu.edu/eng/seminar/2007/alphabetize.html). Coco Fusco (www.cocofusco.com) is a New York-based interdisciplinary artist and writer. She has performed, lectured, exhibited and curated effectually the world since 1988

Maths plus ( Book )

in English language and held by 2 WorldCat member libraries worldwide

Retoricas de lo popular en el cine y la literatura argentina de la primera mitad del siglo Twenty by Maria Gabriela Castillo( Book )

1 edition published in 2008 in Spanish and held by 2 WorldCat member libraries worldwide

La segunda escena aborda el fenomeno de la sociedad del espectaculo durante los dos primeros gobiernos peronistas (1946-1955), analizando las configuraciones de lo popular en tres transposiciones cinematograficas de obras literarias: Madame Bovary, dirigida por Carlos Schlieper, Nacha Regules, por Cesar Amadori y Las aguas bajan turbias por Hugo del Carril. En estas adaptaciones, los directores eligen enfatizar narrativas populares como el melodrama o el genero epico, entrando en sintonia con la retorica del sentimiento que Eva Peron utiliza para configurar su propia persona politica y la narracion de la gesta peronista. De este modo, los textos filmicos generan united nations modo de respuesta retorica a la interpelacion social cada vez mas visible de los sectores populares en el espacio urbano y entablan united nations dialogo textual con el melodrama que Peron y Eva componen en la escena politica

Interview with Reverend Billy & Savitri D. (the Church of Stop Shopping) ( Visual )

2 editions published in 2007 in English and held by 2 WorldCat fellow member libraries worldwide

Interview with Reverend Billy (William Talen) and Savitri D. of the Church building of Stop Shopping, conducted by Jill Lane every bit a part of the 6th Encuentro of the Hemispheric Institute of Functioning and Politics, celebrated in June of 2007 in Buenos Aires, Argentina nether the title CORPOLÍTICAS en las Américas: Formaciones de Raza, Clase y Género / Trunk Politics in the Americas: Formations of Race, Grade and Gender (http://hemi.nyu.edu/eng/seminar/2007/index.html). Reverend Billy and Savitri D. are performers based in New York, United States. The couple directs the Church of Stop Shopping (www.reverendbilly.org), a radical functioning community that uses the styles of fundamentalist televangelism and works inside the tradition of The Ceremonious Rights Move, The Liberation priesthood of Latin America and ACT-Upward

The Puerto Rican novel 1849--1910: Somatic fictions of identity: Writing nationality on the limits past Sarah Wamester Bares( Book )

1 edition published in 2008 in English and held by ii WorldCat member libraries worldwide

In this dissertation, I take up the particularities of the somatics of culture and politics in the Puerto Rican novel from its beginnings in the nineteenth century to its consolidation equally a genre early in the twentieth. I prove through a contextual examination of the novel in Puerto Rico that while the full general outline of the development of national somatics tin can, indeed, exist seen as parallel to that of other Latin American nations both inside and outside the Caribbean, the local particularities of population, politics, and geography practise make for a unique embodiment of culture and national struggles that changes over time. I specifically investigate the office of the liminal bailiwick, the person who was portrayed as being on the margins, as primal to the conceptualization of nationality in Puerto Rico, a conceptualization that was not static during the time period that I study, but highly mutable throughout. A reading of the nineteenth-century Puerto Rican cultural and national "bodies" also provides clues to i of the not bad mysteries of Puerto Rican messages, that is, from whence arose the enduring metaphor of the Puerto Rican equally ser enfermo, an image employed--and deployed--by authors and other cultural critics of Puerto Rico for more than a century, even to the present

Reverend Billy and the Church of stop-shopping : live ( Visual )

one edition published in 2003 in English and held by 2 WorldCat member libraries worldwide

Video documentation of Reverend Billy and his Church of Stop Shopping'due south performance-intervention, presented as a part of the quaternary Encuentro of the Hemispheric Institute of Performance and Politics, celebrated in July of 2003 in New York City, United States nether the title 'Glasses of Religiosities'. Reverend Baton is a character inhabited by the author/actor William 'Bill' Talen. An invention that resists titles like Performance Creative person, Homo of God, or Anarchist -- Reverend Billy and his Church of Stop Shopping have become popular equally none of the above or equally all three. In one form, this project is an interactive play, an evening-length church service that seems to evolve from comedy to some sort of secular spirituality that downtown New York hipsters embrace. Working in 300-seat theaters with large gospel choirs that sing anti-consumerist lyrics ('Stop Shopping! Stop Shopping! Now we tin leave the Shopping Malls!'), the Reverend usually works, like a normal church building, with a theme at each service. These range from anti-sweatshop concerns, to the neighborhood defence force confronting the economic system of tourism, to creature rights. However, Reverend Billy is best known for his Disney and Starbucks shop invasions, which also combine the elements of drama, faith and politics. Post-performance discussion led by Jill Lane

Decolonial gesture ( )

one edition published in 2014 in English language and held by two WorldCat member libraries worldwide

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