dc.contributor.author | Foley, John Miles | eng |
dc.date.issued | 2005-10 | eng |
dc.description | 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. | eng |
dc.description | Issue title: Performance Literature II. | eng |
dc.format.extent | 31 pages | eng |
dc.identifier.citation | Oral Tradition, 20/2 (2005): 233-263. | eng |
dc.identifier.uri | https://hdl.handle.net/10355/65021 | |
dc.language | English | eng |
dc.rights | OpenAccess. | eng |
dc.rights.license | This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 License. | |
dc.title | From oral performance to paper-text to cyber-edition | eng |
dc.type | Article | eng |