No Woman’s Land - Walking as a Dramaturgical Device in Performance of Maternal Migration
20 Dec 2019-
TL;DR: In 2015 Garton and her collaborator walked 220 miles across Poland and Germany, re-walking the route of a traumatic familial journey as a result of a violent expulsion in 1945 as discussed by the authors.
Abstract: In 2015 Garton and her collaborator walked 220 miles across Poland and Germany, re-walking the route of a traumatic familial journey as a result of a violent expulsion in 1945. This article discusses the performance walk of ‘No Woman’s Land’ as a methodology towards a dramaturgy of migration, enabling an authentic representation of the migrant mother through the staging of the exhausted female body, the interweaving of documentary footage, and the real act of walking. During the performance, performers (and spectators), walked on treadmills through projections of archival and recent footage of migration. The article argues that through viscerally representing migration, the performance and documentary produced a kinesthetic empathy with the physical demands of escape and in turn provided an ontological ground for disseminating historical and political knowledge of forced maternal migration.
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23 Jul 2015
TL;DR: In this paper, the authors present an invitation to explore the many different ways to wander in the world and to encounter artists involved in the Walking Artist Network (WAN) and beyond.
Abstract: This is your invitation to some of the many different ways to wander. 54 Ingtriguing encounters produced by artists involved in the Walking Artist Network and beyond. Edited by Claire Hind and Clare Qualmann.
2 citations
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01 Jan 2007
TL;DR: Digital Performance as mentioned in this paper traces the evolution of these practices, presents detailed accounts of key practitioners and performances, and analyzes the theoretical, artistic, and technological contexts of this form of new media art.
Abstract: The past decade has seen an extraordinarily intense period of experimentation with computer technology within the performing arts. Digital media has been increasingly incorporated into live theater and dance, and new forms of interactive performance have emerged in participatory installations, on CD-ROM, and on the Web. In Digital Performance, Steve Dixon traces the evolution of these practices, presents detailed accounts of key practitioners and performances, and analyzes the theoretical, artistic, and technological contexts of this form of new media art. Dixon finds precursors to today's digital performances in past forms of theatrical technology that range from the deus ex machina of classical Greek drama to Wagner's Gesamtkunstwerk (concept of the total artwork), and draws parallels between contemporary work and the theories and practices of Constructivism, Dada, Surrealism, Expressionism, Futurism, and multimedia pioneers of the twentieth century. For a theoretical perspective on digital performance, Dixon draws on the work of Philip Auslander, Walter Benjamin, Roland Barthes, Jean Baudrillard, and others. To document and analyze contemporary digital performance practice, Dixon considers changes in the representation of the body, space, and time. He considers virtual bodies, avatars, and digital doubles, as well as performances by artists including Stelarc, Robert Lepage, Merce Cunningham, Laurie Anderson, Blast Theory, and Eduardo Kac. He investigates new media's novel approaches to creating theatrical spectacle, including virtual reality and robot performance work, telematic performances in which remote locations are linked in real time, Webcams, and online drama communities, and considers the "extratemporal" illusion created by some technological theater works. Finally, he defines categories of interactivity, from navigational to participatory and collaborative. Dixon challenges dominant theoretical approaches to digital performance -- including what he calls postmodernism's denial of the new -- and offers a series of boldly original arguments in their place.
388 citations
Book•
15 Dec 2007
TL;DR: In this paper, the authors discuss the role of political dramaturgies in the development of modern dramaturgy, from emblem to 'golden motor' names and identities, and the history of the modern political role of dramaturgs.
Abstract: Introduction PART I: What is Dramaturgy? Brecht's productive dramaturgy: from emblem to 'golden motor' Names and Identities: Political dramaturgies in Britain PART II: Introduction: The Dramaturg and the Theatre Institution The Dramaturg and the Playwright The Production Dramaturg The Dramaturg and Devising: Shaping a Dramaturgy PART III: Millennial Dramaturgies Bibliography Index
98 citations
TL;DR: The Journal of the American Psychoanalytic Association (APA) as discussed by the authors is a journal published by the Society of American Psychologists (SASSOCIATED MEDIA, Inc.).
Abstract: at: Additional services and information for Journal of the American Psychoanalytic Association can be foundEmail Alerts: http://apa.sagepub.com/cgi/alerts Subscriptions: http://apa.sagepub.com/subscriptions Reprints: http://www.sagepub.com/journalsReprints.nav Permissions: http://www.sagepub.com/journalsPermissions.nav
68 citations
01 Jan 2008
TL;DR: This work aims to provide a history of psychoanalytic re-concretization in the United States from 1989 to 2002, a period chosen in order to explore its roots as well as specific cases up to and including the year in which descriptions of “recovery” began to circulate.
Abstract: at: Additional services and information for Journal of the American Psychoanalytic Association can be foundEmail Alerts: http://apa.sagepub.com/cgi/alerts Subscriptions: http://apa.sagepub.com/subscriptions Reprints: http://www.sagepub.com/journalsReprints.nav Permissions: http://www.sagepub.com/journalsPermissions.nav
67 citations
TL;DR: The work in this article proposes a destabilisation of values, unsettling familiar analytical and interpretative approaches: the local is magnified to the scale of the epic; the epic is one small step after another; the familiar is a site of risk; and walking a means for building relations rather than escaping them.
Abstract: Narratives attached to walking practices, influenced by the Romantic, Naturalist and avant-garde movements, continue to frame and prioritise aestheticised acts of walking as heroic, epic, individualist, and conquering. This reiteration of dominant knowledge risks obscuring certain types of walking and other ways to think about and recognise walking art’s potentialities. Encountering work by contemporary women artists and interviewing them about their motivations and experiences suggests the need for a radical mobilization of the rhetorics of scale, a task we begin here. The walking art works we introduce propose a destabilisation of values, unsettling familiar analytical and interpretative approaches: the local is magnified to the scale of the epic; the epic is one small step after another; the familiar is a site of risk; and walking a means for building relations rather than escaping them. Whilst assumptions about who walks, in what way and with what value are confronted, so too is the nature of the task in hand, as the walking body remains entangled in monumental historical and social structures, including the spatial.
61 citations