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dc.contributor.authorFoley, John Mileseng
dc.date.issued2005-10eng
dc.descriptionA 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.eng
dc.descriptionIssue title: Performance Literature II.eng
dc.format.extent31 pageseng
dc.identifier.citationOral Tradition, 20/2 (2005): 233-263.eng
dc.identifier.urihttps://hdl.handle.net/10355/65021
dc.languageEnglisheng
dc.rightsOpenAccess.eng
dc.rights.licenseThis work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 License.
dc.titleFrom oral performance to paper-text to cyber-editioneng
dc.typeArticleeng


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