9788763540704 - Visions and Revisions: Performance, Memory, Trauma (In Between States, Band 2) (16 Ergebnisse)

Paperback. Zustand: new. Paperback. Visions and Revisions brings the fields of performance studies and trauma studies together in conversation where they inform crucial themes such as trauma, testimony, witness, and spectatorship. While performance studies is increasingly addressing trauma and how to represent it, attention is still often relegated to high-brow forms of art and political theater. The contributors here fill a critical gap, raising questions about how popular and mediatized performances that memorialize trauma might also be viewed through performance theory. They also look at how performance studies might shift its focus from the visual to the sensorial and materialas a method of rethinking the act of witnessand in doing so offer a fresh perspective on performance and trauma studies. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Zustand: New.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

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Paperback. Zustand: New. In 1983 US president Ronald Reagan told the Israeli Prime Minister that he, as a photographer during World War II, had documented the atrocities of the concentration camps on film. The story was later exposed as a fraud as it was revealed that Reagan had resided in Hollywood during the entire war. Does this mean that Reagan was simply an amoral liar or that he established a connection to the Holocaust that can be said to have evolved from the intersection between real and reel? Visions and Revisions. Performance, Memory, Trauma brings the fields of performance studies and trauma studies together in conversation in order to investigate how these two fields both envision and revision one another in relation to crucial themes such as trauma, testimony, witness, and spectatorship. According to Peggy Phelan, a leading performance studies scholar, performance provides a unique model for witnessing events that are both unbearably real and beyond reasons ability to grasp traumatic events like the Holocaust. While Reagans claim is obviously both paradoxical and problematic, it opens up a space in which the potential insights that performance studies and trauma studies might bring to one another become particularly visible. The first half of the anthology focuses on issues of spectatorship, specifically its ethics and the possibility of witnessing. The second half widens the discussion to include memory more broadly, shifting the emphasis from sight to site, and particularly to site-specific works and the embodied encounters they model, enable and enact. The contributors here fill a critical gap, raising questions about how popular and mediatized performances that memoralize trauma might be viewed through performance theory. They also look at how performance studies might shift its focus from the visual to the sensorial and material and in doing so, they offer a fresh perspective on both performance and trauma studies. Writing from different disciplinary vantages and drawing on multiple case studies from South Africa, the former Soviet Union, Lebanon and Thailand, among others, the contributors decolonize trauma studies and make us question, how and where our own eyes and bodies are positioned as we revision the scenes before us.

Zustand: New. Brand New.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Zustand: New. Editor(s): Tresize, Bryoni; Wake, Caroline. Num Pages: 233 pages, 34 b/w illus. BIC Classification: AS. Category: (G) General (US: Trade). Dimension: 166 x 237 x 18. Weight in Grams: 570. . 2014. Paperback. . . . .

Zustand: New.

Zustand: As New. Unread book in perfect condition.

Zustand: New. Editor(s): Tresize, Bryoni; Wake, Caroline. Num Pages: 233 pages, 34 b/w illus. BIC Classification: AS. Category: (G) General (US: Trade). Dimension: 166 x 237 x 18. Weight in Grams: 570. . 2014. Paperback. . . . . Books ship from the US and Ireland.

Paperback. Zustand: new. Paperback. Visions and Revisions brings the fields of performance studies and trauma studies together in conversation where they inform crucial themes such as trauma, testimony, witness, and spectatorship. While performance studies is increasingly addressing trauma and how to represent it, attention is still often relegated to high-brow forms of art and political theater. The contributors here fill a critical gap, raising questions about how popular and mediatized performances that memorialize trauma might also be viewed through performance theory. They also look at how performance studies might shift its focus from the visual to the sensorial and materialas a method of rethinking the act of witnessand in doing so offer a fresh perspective on performance and trauma studies. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.

Kartoniert / Broschiert. Zustand: New. &Uumlber den AutorBryoni Trezise is a lecturer in theatre and performance studies at the University of New South Wales. Caroline Wake is a Postdoctoral Fellow in the Centre for Modernism Studies at the University of New South Wales.

Paperback. Zustand: New. New Book, Direct from Publisher.

Paperback. Zustand: New. In 1983 US president Ronald Reagan told the Israeli Prime Minister that he, as a photographer during World War II, had documented the atrocities of the concentration camps on film. The story was later exposed as a fraud as it was revealed that Reagan had resided in Hollywood during the entire war. Does this mean that Reagan was simply an amoral liar or that he established a connection to the Holocaust that can be said to have evolved from the intersection between real and reel? Visions and Revisions. Performance, Memory, Trauma brings the fields of performance studies and trauma studies together in conversation in order to investigate how these two fields both envision and revision one another in relation to crucial themes such as trauma, testimony, witness, and spectatorship. According to Peggy Phelan, a leading performance studies scholar, performance provides a unique model for witnessing events that are both unbearably real and beyond reasons ability to grasp traumatic events like the Holocaust. While Reagans claim is obviously both paradoxical and problematic, it opens up a space in which the potential insights that performance studies and trauma studies might bring to one another become particularly visible. The first half of the anthology focuses on issues of spectatorship, specifically its ethics and the possibility of witnessing. The second half widens the discussion to include memory more broadly, shifting the emphasis from sight to site, and particularly to site-specific works and the embodied encounters they model, enable and enact. The contributors here fill a critical gap, raising questions about how popular and mediatized performances that memoralize trauma might be viewed through performance theory. They also look at how performance studies might shift its focus from the visual to the sensorial and material and in doing so, they offer a fresh perspective on both performance and trauma studies. Writing from different disciplinary vantages and drawing on multiple case studies from South Africa, the former Soviet Union, Lebanon and Thailand, among others, the contributors decolonize trauma studies and make us question, how and where our own eyes and bodies are positioned as we revision the scenes before us.

Taschenbuch. Zustand: Neu. Neuware - In 1983 US president Ronald Reagan told the Israeli Prime Minister that he, as a photographer during World War II, had documented the atrocities of the concentration camps on film. The story was later exposed as a fraud as it was revealed that Reagan had resided in Hollywood during the entire war. Does this mean that Reagan was simply an amoral liar or that he established a connection to the Holocaust that can be said to have evolved from the intersection between real and reel Visions and Revisions. Performance, Memory, Trauma brings the fields of performance studies and trauma studies together in conversation in order to investigate how these two fields both envision and revision one another in relation to crucial themes such as trauma, testimony, witness, and spectatorship. According to Peggy Phelan, a leading performance studies scholar, performance provides a unique model for witnessing events that are both unbearably real and beyond reasons ability to grasp traumatic events like the Holocaust. While Reagans claim is obviously both paradoxical and problematic, it opens up a space in which the potential insights that performance studies and trauma studies might bring to one another become particularly visible. The first half of the anthology focuses on issues of spectatorship, specifically its ethics and the possibility of witnessing. The second half widens the discussion to include memory more broadly, shifting the emphasis from sight to site, and particularly to site-specific works and the embodied encounters they model, enable and enact. The contributors here fill a critical gap, raising questions about how popular and mediatized performances that memoralize trauma might be viewed through performance theory. They also look at how performance studies might shift its focus from the visual to the sensorial and material and in doing so, they offer a fresh perspective on both performance and trauma studies. Writing from different disciplinary vantages and drawing on multiple case studies from South Africa, the former Soviet Union, Lebanon and Thailand, among others, the contributors decolonize trauma studies and make us question, how and where our own eyes and bodies are positioned as we revision the scenes before us.