Oral tradition, volume 20, number 2 (October 2005) - Performance Literature (2)
https://hdl.handle.net/10355/63701
2024-03-29T01:36:21ZAbout the authors (Oral Tradition, 20/2, 2005)
https://hdl.handle.net/10355/65015
About the authors (Oral Tradition, 20/2, 2005)
Issue title: Performance Literature II.
2005-10-01T00:00:00ZCover (Oral Tradition, 20/2, 2005)
https://hdl.handle.net/10355/65011
Cover (Oral Tradition, 20/2, 2005)
Issue title: Performance Literature II.
2005-10-01T00:00:00ZThe culture of play : Kabuki and the production of texts
https://hdl.handle.net/10355/65019
The culture of play : Kabuki and the production of texts
Gerstle, C. Andrew
In this essay, I will make a case that performance in Japan has been a catalyst for the artistic production of physical objects, both visual and literary texts. Furthermore, I shall argue that it is more useful to consider such physical texts not simply as representations of performance. They, of course, may have been created directly in response to a performance (or in anticipation of a performance), but as physical objects they became something entirely distinct and of a different genre. Such objects (texts) existed on their own and usually served various functions, one of the most important of which was to stimulate new performances.; Issue title: Performance Literature II.
2005-10-01T00:00:00ZFrom oral performance to paper-text to cyber-edition
https://hdl.handle.net/10355/65021
From oral performance to paper-text to cyber-edition
Foley, John Miles
A performance is not a text, no more than an experience is an item or language is writing. At its very best a textual reproduction--with the palpable reality of the performance flattened onto a page and reduced to an artifact--is a script for reperformance, a libretto to be enacted and reenacted, a prompt for an emergent reality. I start by recalling this selfevident truth because our culturally sanctioned ritual of converting performances into texts submerges the fact that in faithfully following out our customary editorial program we are doing nothing less radical than converting living species into museum exhibits, reducing the flora and fauna of verbal art to fossilized objects. In a vital sense textual reproductions become cenotaphs: they memorialize and commemorate, but they can never embody.; Issue title: Performance Literature II.
2005-10-01T00:00:00Z