Examination of performance as praxis, the embodiment of theory. Draws upon the canon of 20th century theories and the performance projects they influenced to explore the performance art tradition and to create original interdiciplinary intermedia work that is reflective and reflexive of society.
- To provide an introduction into performance studies.
- To examine the history and work of late 19th, 20th and 21st century performance artists.
- To develop an understanding and awareness of the traditon of intermedia performance.
- To create intermedia performances informed by the history and theories of performance.
- To nurture intellectual curiosity and expand critical thinking skills through the pollination of cross-disciplinary resources for examining performance.
The format of this class is grounded in the ideal of roundtable discussion, each participant contributing to discussions fully and actively and workshopping through praxis, metabolizing theory through the creation of original performance. Visual aids such as film, video, recordings and slides will assist in the clarification of ideas as put forth in the readings assigned. As you are intellectually curious and wanting to exercise your curiosity, you will read and you will write. Additionally, you will document all of your work in any media/um you desire, but work must be documented fully; indulgent with detail.
COURSE OUTLINE - A Work in Progress
- What is Performance Studies?
- What is Performance?
- What is Performance Art?
- The Futurists
- Marinetti's Manifesto
- Boccioni, Carra, Russolo, etc.
- Khlebnikov and the Zaum Poets
- Malevich, Mayakovsky, etc.
- Meyerhold and Biomechanics
- Blue Blouse
- Efficacy and Entertainment Braid
- Liminal, communitas and anti-structure
- Dada - Surrealism
- Weimar Germany
- Cabaret Voltaire, Gallerie Dada, etc.
- Tzara, Ball, Huelsenbeck, Grosz, Heartfield, Schwitters, etc.
- Satie, Man Ray, Cocteau, Clair, Duchamp, etc.
- German Expressionist Theatre
- Gropius, Schlemmer, Moholy-Nagy, Mies van der Rohe, etc.
- Antonin Artaud - Theatre of Cruelty
- Early theories
- Living Art
- Black Mountain College, Cage, Cunningham, Tudor, etc.
- Allan Kaprow and Happenings
- Fluxus, Judson Church, Dancers' Workshop, etc.
- Klein, Manzoni, Beuys, Partch, Cowell, etc.
- Performance Processes
- Training through to the Aftermath
- Media Generation
- Body Art
- Global and Intercultural Performances
- Cutlural Appropriation
Performance Art: From Futurism to Present. RoseLee Goldberg; Thames and Hudson, 2001.
Performance Studies: An Introduction-2nd edition. Richard Schechner; Routledge, 2006.
Additional Reading will be provided on the Assignments page.
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- Attend each class on time, ready to work and participate fully from beginning to end. Full participation is required for full credit. Tardiness and non- or partial participation will not receive full credit.
- Participate in discussions: creative and critical . You’re perceptions are valid and valued. As artists, we need the skills of presenting and defending our ideas through the use of thoughtful, articulate and eloquent language. Your participation in these discussions is a major component of your cummulative grade.
- Performance Projects.
- Writing Assignments. You will be given weekly writing assignments based upon the readings, discussions and work you will experience. Usually, they will be due the following Tuesday, but I reserve the right to make changes appropriate to the progression of the class. Have assignments completed on time. Late assignments will not be accepted. All written assignments, must by typed, 1-2 pages, single or double-spaced, unless otherwise stated. Assignments will be worth 5 points each.
- One research paper. Due Dec. 2.
- Attendance of a Theatre/Dance ISU production. Box office: 282-3595; www.isu.edu/tickets. A 2-3 page typewritten critical response to the work or a work or one aspect of the work or the performance onstage, backstage, afterstage or the performance of the audience and so on by incorporating what you have learned in class in your writing. All papers must be typed.Due TH Dec. 9.
- Final Meeting/Portfolio Presentation, Tuesday, Dec. 14, 12:30pm-2:30pm, Red Hill 127 or other pre-arranged date/time/place.
- NOTE: All papers must be original. Quotes and paraphrased ideas must be properly cited. Any student caught plagiarizing or purchasing a paper from an outside source (i.e., Internet) will receive an "F" for the course.
- NOTE: Last day to withdraw is Oct. 29, 2010.
|A=exceptional work, demonstrating consistently excellent performance in terms of skill, growth, participation, attendance, theoretical and aesthetic understanding.
B= very good to outstanding work most of the time demonstrating a high degree of excellence in performance in terms of skill, growth, participation, attendance, theoretical and aesthetic understanding, particularly as the term progresses.
C=fundamental mastery of skill, steady growth, good participation, appropriate attendance, basic theoretical and aesthetic understanding.
D=performance marred by lapses in attendance, attention, attitude or missing course work.
F=performance interrupted by significant absence or failure to complete expected course work.