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Performance
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Review
"Performance offers scenarios... for active pedagogy, inviting students and others to explore and perhaps undo the links between images and writing, texts and performances, so as to conduct their own performatic appropriations." (Loren Kruger Critical Inquiry 2016-06-23)"Taylor's fascinating, multicultural analysis of performance explores not only what performance is but also what it does—what it allows one to see, to experience, and to theorize—and 'its complex relation to systems of power.' . . . Recommended." (M. S. LoMonaco Choice 2016-12-01)"The book is performative and multivocal, combining images of performances in the Americas, Taylor’s narrative essays, and important excerpts from key texts on performance by academics, activists, and artists....The result is a work that gives ample space to artists/artivists as the creators of tactics rather than to performance studies scholars who analyze nonperformance phenomena as performance." (Patricia Ybarra TDR 2017-09-01)"Introduction, reflection, and provocation coalesce most successfully in Taylor’s passionate insistence on the necessity of performance and its academic study. Performance, Taylor argues, has real effects, but the nature of those effects is not pre-determined. The wielder determines the worth of the weapon. These passages alone would suffice to make the book a trusted companion of students and senior scholars alike." (David Calder New Theatre Quarterly 2016-11-01)"This book is a valuable introduction to performance art and performance studies. It is deftly argued and elegantly composed. Taylor concludes by saying that performance is ‘world-making’ and that we need to understand it (208). This book helps us to do just that." (Adrian Curtin Studies in Theatre and Performance 2016-07-13)“Incredibly important. Performance is a proffer of a new way of looking and thinking about performance.” (Robert Summers CAA Reviews 2018-07-18)
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Review
"Diana Taylor concludes with a strong claim that 'Performance is a powerful weapon. We need to understand it.' In that light she is clearly a warrior and an exemplary scholar. But she is also, as evidenced in the pages of this book, a profoundly insightful, compassionate, hope-filled lover of performers and performance. I’ve rarely come across such a trustworthy witness to the potential of art and activism. For that last ounce of courage, I think I’ll just have to carry this inspiring chronicle of performance studies, performance art, and, from my read, artists of all sorts—and have it with me in every type of backstage dressing room I might occupy." (Anna Deavere Smith)"Diana Taylor is the best kind of scholar: engaged, partisan, concerned not merely with describing her subjects, but with bringing forth the political power of their work. And that’s what this book does: it leavens existing visions in order to nourish new ones." (Jacques Servin, New York University)"At the beginning of this book Diana Taylor makes the claim that since the 1960s artists have been placing the body 'front and center' in artistic practice, and at the end she asks, 'How would our disciplines and methodologies change if we took seriously the idea that bodies (and not only books and documents) produce, store, and transfer knowledge?' In between, Taylor offers, not so much a set of answers to that question, but instead, an array of perspectives on performance from which we can commence an inquiry into its cultural, aesthetic, and political significance. As such this book provides a comprehensive and enticing introduction to what performance is, what it does, and why it matters. But the book does more: in the examples it discusses and the visual documentation it provides, it inspires us both to see how performance theorizes the world and also how we might imagine its possible futures." (Susan Leigh Foster, Distinguished Professor, University of California, Los Angeles)
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Product details
Paperback: 240 pages
Publisher: Duke University Press Books (March 18, 2016)
Language: English
ISBN-10: 0822359979
ISBN-13: 978-0822359975
Product Dimensions:
5.5 x 0.5 x 8 inches
Shipping Weight: 1 pounds (View shipping rates and policies)
Average Customer Review:
5.0 out of 5 stars
4 customer reviews
Amazon Best Sellers Rank:
#401,907 in Books (See Top 100 in Books)
Love Taylor's ideas on virtual and actual identity, and how we live in a hybrid space.
great
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Performance is a doing to, a thing done to and with the spectator.Diana Taylor, Performance, 2016, p.86Writer, Activist and NYU University Professor, Diana Taylor, has accomplished an admirable scholarly feat. Her new book Performance (Duke University Press, 2016) presents in accessible language an intelligent and impassioned primer whereby to engage the study of performance - defined as an embodied activity separate from life or “twice performed†for an audience. Intentionally not written as a hegemonic history, Performance provides a kit of discursive tools to analyze contemporary lived experience ranging from protests, demonstrations, theatre, performance art, dance, music, and other forms of public gesture. In being a useful primer for beginning theorists and advanced practionners, the book calibrates its tone towards clarity, bolstered by ample case studies and black & white illustrations, while its’ tenor is one of urgency and timeliness that the very acts of performance that reading, writing, viewing, and taking action entail.Acknowledging the interdisciplinary field within in which she has made a place for herself with reference to John Austin (philosophy), Richard Schechner (theatre), Peggy Phelan (performance studies), José Munoz (queer theory), Judith Butler (critical theory), Jon McKenzie (performance studies) and many more - as well as acknowledging the role of performance artists-activists – Karen Finley, Regina Galindo, Guillermo Gomez Peña, The Yes Men, Marina Abramović to name but a few, Performance is organized around several key concepts constituting a “brief history of performance theory.†As a quiet democratic act which allows for the recognition of performance as theory to glide easily into public conversation – the slipping of a veil of knowledge over the body of life - Performance nonetheless lodges a solid punch prompting readers into action by beginning with the simple question “what can I do?â€With performance characterized as “radically unstable†and an experience wherein “breaking norms is the norm,†there is a bent in the works selected towards ones that create political consciousness, if not outright activism and revolutionary thinking. Just shy of a manifesto, Performance resists simplistic definitions and easy generalizations of complex world practices and subtle occurrences to push its readers to think about the specific ways in which things do something in the world and to the world. Performance, the book, and performance, the medium, presents the capacity to render viewers into more active modes, to become “spec-actors.†In wondering if there are always clear lines between art, performance, life, and politics, and how framing can make the same thing different, I think about who this book was written for and its underlying message. In the end, I believe it is for those who wish to make sense of their place in the world as a sentient body and a thinking presence. As Taylor concludes to empower her reader “As an act of imagination, performance allows us to imagine better scenarios and futurities…Performance is world making. We need to understand it.â€
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