sk any two Performance Studies (PS)

scholars to describe their fieldand you

might get three different answers. Some
respondents will turn your question into another
question. Or theyll offer an answer as elusive as a
Zen-koan. No matter the form, these attempts to
describe the emerging field of Performance Studies
are provocative, colorful and full of boundless
energy. Like the field itself, they resist easy
formulation.
I think of Performance Studiesas a hide-out,
an after school program for bad boys and girls,
a safe house for those who cant go by the rules.
Performance Studies is not one-size fits all, but
all sizes try to fit in. That is, if you can handle
conflict, cope with ambiguity, navigate the
incomprehensible, relish the rivalry. For both
artists and academics it can be a place to see
yourself reflected, challenged, codified, cracked
up, over baked and served upIsnt that the
point? To question. Is it fun? Is it fashion? Or is
it food? Or just further education?
Lois Weaver, School of English
and Drama at Queen Mary
Some respondents will even employ animal
metaphors to try to clarify the situation.
Is performance studies a field, an area, a disci-
pline? The sidewinder snake moves across the
desert floor by contracting and extending itself
in a sideways motion. Wherever this beautiful
rattlesnake points, it is not going there. Such
(in)direction is characteristic of performance
studies. This area/field/discipline often plays at
what it is not, tricking those who want to fix it,
alarming some, amusing others, astounding a
few as it side-winds its way across the deserts of
academia.
Richard Schechner, New York University
Perhaps its tough to pin PS down precisely
because of the ephemeral nature of its subject: per-
formance. If you have ever performed in a school
play, an All-State track-race, Easter Mass or your
sisters wedding, you know that the work involved
is multi-layered, anddespite all your planning
the result always unpredictable. You also know that
the performance does not just consist of The Big
Day itself, but is comprised of many processes
along the waytraining, worrying, practicing your
instrument, building the set, sending out invita-
tions, and the like. And then theres the post-pro-
duction wrap-up, such as attending the trophy cer-
emony, reading critics reviews, heading home for
Performance Studies: A Moving Target
Performance Studies is not one-size fits all, but all sizes try to fit in. That is, if you can
handle conflict, cope with ambiguity, navigate the incomprehensible, relish the rivalry.
Lois Weaver
I N S I D E
A
A S T U D E N T S G U I D E T O
Performance Studies
Key Developments
in the Field
Questions to
Get You Started
Sample Performance
Studies Projects
Performance Studies
Books, Journals and
Academic Programs
Glossary of Terms

2 | A Students Guide to Performance Studies
Aunt Sallys Easter Ham dinner, orif youre duti-
ful!sending out thank-you notes. To study a per-
formance, then, is to set out to understand a com-
plex event that is in-process, that moves and grows
over time. Since the performance itself wont stand
still, trying to capture its essence can likewise be an
adventure.
It is a special kind of rush to set out in pursuit
of an object-of-study that is as elusive, tempo-
ral, and contingent as performance. To be a per-
formance studies reader is to work without a
net, to walk on hot coals, to search in a dark
alley at midnight for a black cat that isnt
thereWe are the lovers on Keats Grecian urn,
eternally in pursuitFor the most part, those of
us who consider ourselves performance studies
people like it that way.
Henry Bial, University of New Mexico
Why the Buzz?
If scholars admit they cant, or wont, give a clear
answer to describe their field, why then such a buzz
of excitement about Performance Studies?
Precisely because it prefers questions to answers,
flux to order, expanding boundaries to fixed limits.
Unlike another academic field that might exclude
certain questions from its range of purview,
Performance Studies is a method of inquiry that
posits an underlying dimension of performance to
all human behaviorfrom Native American pey-
ote rituals to high-speed NASCAR races to getting
dressed in the morning. Because its willing to
house a vast array of material under one roof, then,
PS openly defies the traditional separations that
commonly exist between university departments. It
celebrates projects that fall between the lines. It
puts previously alienated scholars and artists into
conversation. It would sooner put up a fight than
submit to ready-made categories.
Sometimes uncoordinated, often playful, always
ambitious, PS is an emerging field that is still in the
making. Given its responsiveness to ever-new areas
of inquiry, you could say its a field that
wants always to be in the making. Precisely suited
to a dynamic world, PS wont offer Fixed Truths
because none of the phenomena it studies appear
in black and white either.
For many PS scholars, thats its greatest
strength: as Diane Taylor says: I find PSs very
undefinability and complexity reassuring.
If youre finding yourself nodding with enthusi-
asm, if PSs celebration of intellectual discomfort
comforts you, then you may have found an area of
like-minded colleagues. You too may be a per-
formance studies person.
While this brochure wont try to provide a com-
prehensive definition of the field, it will update you
on basic concepts and vocabulary so that you can
join the lively PS conversations unfolding in lecture
halls, rehearsal rooms and conference panels
throughout the US and world. The one overriding
and underlying assumption of performance stud-
ies, Richard Schechner states, is that the field is
wide open. Because of its democratic spirit, its
invitation to hear many voicesyou should feel
free to dive right in.
The Subject: Performance
One thing can be said for sure: Performance
Studies takes performance itself as the object of
inquiry. That is, PS scholars do not begin by asking
questions of Being. They do not inquire into
essences, as if beliefs and social values are natural
or God-given.
Instead, Performance Studies scholars see all of
social reality as constructed by Doingsactions,
behaviors and events. No aspect of human expres-
sionreligious, artistic, political, physical, sexual
descends from On High, fixed for eternity. Instead,
the various features of a cultures life are contin-
gentthey are shaped and reshaped in particular
It is a special
kind of rush to
set out in pursuit
of an object-of-
study that is
as elusive,
temporal, and
contingent as
performance.
Henry Bial
A Students Guide to Performance Studies | 3
Live theater: Broadway,
Off-Broadway, Londons
Globe
Avant-garde
performance: 1960s
Happenings; Off-off
Broadway; street
performances; Edinburgh
fringe festival
Modern dance, ballet,
tap, hip-hop, free style
Opera, orchestra music,
musical theater
Film, U.S. Hollywood
culture
Religious ritual,
rite ceremonies
Sermons/preaching;
Gospel music
Sexuality: private sex,
drag, pornography,
voyeurism
Politics: campaign
speeches, State of the
Union address, voting
Gang activity and culture
Secular ceremonies:
sweet 16s, weddings,
job promotions, college
graduations
The theatricality of every-
day life: dress, posture, job
uniform, wearing make-up
Radio talk shows,
nightly news report
Fairs, Carnivals,
Mardi Gras
Magic Shows, Puppet
Theater
Popular entertainment:
Stand-up comedy, Saturday
Night Live; nightclubs
Blue-grass, country music
Dog shows, Bull Fights
Rap music, Spoken
word poetry
Graffiti, Bumper-stickers
Internet chat-rooms,
blogs, dating websites
Sports/Games,
Superbowl Sunday
Pantomime
Civil Rights Marches,
Labor strikes
College lecturing,
student life on campus
Psychotherapy: psycho-
analysis, face-to-face talk
therapy, role-playing
Military culture,
boot camp
Colonialism; fascism
(just think of the rallies!);
apartheid; democracy;
terrorism
Ways of speaking:
promising, betting
Ways of writing:
autobiography,
performative
writing
Trials and executions,
public beheadings,
taking hostages on TV
Money markets
(Nasdaq, Dow Jones),
Wall Street culture
The performance of cars:
Top 25 Best Buys of 2006;
mph and 0-60 times
Parenting
Computers, digital
animation
Animal Rights Protests
Portrait Photography
to name only a few.
Can you think
of others?
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Performance Studies has a huge appetite for encountering,
even inventing, new kinds of performing
Henry Bial
(A mere sampling, in no particular order)
K I N D S O F P E R F O R M A N C E S
4 | A Students Guide to Performance Studies
social and historical circumstances, in complex and
lengthy processes. By way of analogy, then, a
groups alleged nature is actually a series of per-
formances: behaviors which are learned, rehearsed
and presented over time.
Because these performances are the building
blocks that structure our reality, PS scholars work
to understand and comment upon how they func-
tionto explain what any given performance does,
and how it is doing it. Among other questions,
they ask: What circumstances helped create this
performance? How is it structured? What relation-
ships does it enable? What effect does it have in a
society, and has that function changed over time?
The only common denominator of the field,
then, is this: Performance Studies scholars study
performances.
For most of us, the term performance brings
to mind the performing arts, exceptional affairs
that typically unfold under bright lights before a
packed house. Just think: The Alvin Ailey per-
formance will be playing at the Kennedy Center for
another week. Or, Bryn Terfel gave the perform-
ance of his career in The Mets Don Giovanni!
And indeed, some PS projects do focus on great
theater, dance, or music performances.
But PSs decisive initiative, however, was to dis-
entangle the terms play, act, acting and perform-
ance from an exclusive association with the per-
forming arts. While everyone agrees that the 2005
Broadway staging of The Glass Menagerie is a per-
formance, PS asserts that a theatrical dimension
underlines all human activity. Therefore, any event,
action, or behavior can be studied as a perform-
ance, and a scholar can investigate the various
processes that go into making it up. For instance,
PS regards U.S. Senate confirmation hearings,
Japanese Zen rock gardening, and Bantu burial
rites as performances, each of which is structured
by actions and processes that can be analyzed and
compared. Sky-diving and Evangelical prayer are
also kinds of performances, as are public execu-
tions in North Korea and telling Yiddish jokes.
Ditto for the pre-Oscar Awards Red Carpet fashion
interviews and Louisiana shrimp-catching.
Ultimately, PS asserts that all aspects of everyday
life, even the seemingly spontaneous or mundane,
reveal a performative componenta component
that makes them like a performance.*
Like good theater scholars, PS scholars investi-
gate any performances dramaturgythe process-
es by which it was composed, prepared and
presented.
And why study Performance?
Cultures are often most fully expressive in their
performances. PS scholars hope to comprehend
and explain what such behaviors might indicate
about the individual, group or culture that enacts
them.
Richard Schechner has outlined seven functions of
performance:
To entertain
To make something that is beautiful
To mark or change identity
To make or foster community
To heal
To teach, persuade or convince
To deal with the sacred and/or the demonic
In his book The Future of Ritual, he writes that, in
any of these varieties, Performances subject [is]
transformation: the startling ability of human
beings to create themselves, to change, to
becomefor worse or betterwhat they
ordinarily are not. By means of performance,
then, something is created, born, changed,
celebrated, or ended. It is this transformative site
that PS scholars study.
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1965:
Richard Schechner publishes
his article Approaches, in
the Tulane Drama Review.
This was his first written
articulation that perform-
ance is an inclusive category
that includes play, games,
sports, performance in every-
day life, and ritual. Many
subsequent works develop-
ing his Broad Spectrum
Approach were to come.
1967:
Schechner is invited to head
the Drama Department at
NYU Tisch School of the Arts.
1970:
In Paris, Peter Brook, a British
director, founded the
International Center for
Theater Research.
1979:
Schechner offered the first
course at NYU entitled
Performance Theory. The
original advertisement read:
Leading American and world
figures in the performance
arts and the social sciences
will discuss the relationship
between social anthropolo-
gy, psychology, semiotics,
and the performing arts.
The course examines theater
and dance in Western and
non-Western cultures, rang-
ing from the avant-garde to
tradition, ritual and popular
forms.
1980:
The Drama Department at
NYU, realizing that it was no
longer teaching only drama
or theater, changed its
name to Performance
Key Turning Points
in the Development
of the Field
Words with a * can be found in the glossary on page 19.
Continued on page 6
A Students Guide to Performance Studies | 5
The sidewinder snake moves across the desert floor
by contracting and extending itself in a sideways
motion. Wherever this beautiful rattlesnake points,
it is not going there. Such (in)direction is characteristic
of Performance Studies.
Richard Schechner
The Story Unfolds:
Developments in the Field
From Ritual to Theater
Two American anthropologists, Victor Turner and
Richard Schechner, may be considered the fathers
of the field of Performance Studies (though there
are also many important uncles and aunts, and
especially children, in the family tree). In his
research in the late 1960s, Turner began to see a
universal theatrical language at play in the various
cultural rituals he studied. He determined that all
groupsbe it the Ndembu people of north-west-
ern Zambia or tree-painters in Medieval China
perform rituals that dramatize and communicate
stories about themselves. They all, for example,
engage in some form of coming-of-age cere-
monies, exorcism rites, or warfare, behaviors which
contain a theatrical component and which enable
the actor(s) to achieve a change in stature, manage
crisis or give birth to a new state of affairs. Turner
noted that such rites tend to occur in a liminal*
space of heightened intensity separate from rou-
tine life, much like a dramatic theater perform-
ance. Given that these ritual acts exhibit many of
the same means of expression employed on a the-
ater stage, Turner termed them social dramas.
Each culture, each person within it, uses the
entire sensory repertoire to convey messages:
manual gesticulations, facial expressions, bodily
postures, rapid, heavy or light breathing, tears,
at the individual levelstylized gestures, dance
patterns, prescribed silences, synchronized
movements such as marching, the moves and
plays of games, sports and rituals, at the cul-
tural level.
Victor Turner, From Ritual to Theater: The
Human Seriousness of Play
Compelled to further explore the theatrical poten-
tial of social life, Turner invited NYU professor
Richard Schechner to join him in organizing the
1981 World Conference on Ritual and
Performance. In his own work, Schechner had
similarly begun to argue that there are points of
contact between anthropological and theatrical
thought. In his book Between Theater and
Anthropology, he noted that ritual and theater per-
formances share many common features: they
both enact a transformation in being or conscious-
ness, occur in a state of intensity, enable interac-
tions between audience and performer, and consist
of a whole sequence of behaviors prior to and after
the main event on display.
Schechner and Turner collaborated in a series
of 3 conferences to investigate further whether
PSs Roots in the Theatrical Avant-Garde
t is important to note that both Turner and Schechner were highly involved in
the avant garde art scene that developed in the U.S. in the 1960s. Turner
became an avid viewer of such theater, and Schechner himself is a theater
director and participant. Their insights about the fluid spectrum of theatrical activity
reflected the tendency of these art movements to blur or breach the boundaries
separating art from life, as well as art genres from each other. The famous
Happenings and other experimental performance acts of the 1960s rejected the
rigid artifices of modern theater, where (for instance) an audience sat at a distance
from the scripted actions up there on stage. Instead, many of these experimental
artists proclaimed, theaterone person doing something while another one watch-
esis unfolding everywhere around us.
I can take any empty space and call it a bare stage. A man walks across this
empty space whilst someone else is watching him, and this is all that is need-
ed for an act of theater to be engaged.
Peter Brook, The Deadly Theater, 1968
This rejection of stark genre boundaries shaped the intellectual backdrop against
which Turner and Schechner argued that a vast array of human activitytheater,
dance, music, games, sports, rituals, and moreis composed of theatrical elements.
I
6 | A Students Guide to Performance Studies
there was a common theatrical basis to a Broad
Spectrum of human activity, from rituals to games
to sports.
Our intellectual goal in the conferenceswas to
approach the genres of theater, dance, music,
sports and ritual as a single, coherent group, as
performance. The underlying question became
whether or not the same methodological tools
and approaches could be used to understand a
noh drama, a football game, a Yaqui deer dance,
a Yoruba masked dance, and a postmodern
experimental performance?
Richard Schechner, By Means of Performance
At these early conferences, Turner and Schechner
wondered aloud whether this theatrical behavior
that everywhere displayed itself was a kind of
languagestructured by letters in the form of
physical movements, sounds, and other bodily
expressions.
The first theater-person to formulate a notion
of a new physical language was Antonin Artaud,
the French actor and theater theorist. Lets listen to
the thoughts he offered after watching a troupe of
Balinese dancers in Paris:
Through the labyrinth of their gestures, atti-
tudes, and sudden cries, through the gyrations
and turns which leave no portion of the stage
space unutilized, the sense of a new physical
language, based upon signs and no longer upon
words, is liberated. These actorsseem to be
animated hieroglyphs.
For Artaud, Turner and Schechner, the text under
analysis ceased to be a static written record, but
became the animated languages of human expres-
sionmovement, body posture, sound, voice,
pace, activity. In these early years after the first
conferences, PS scholars set out to investigate
embodied, live events as they are performed.
Scholars tried to read the structure of a perform-
ance, how it behaved vis--vis its environment, and
what insight about its practitioners these first two
findings might make possible. (See PSs Roots in
the Theatrical Avant-Garde on page 5.)
But if PS was born in anthropology and theater,
it moved in its teenage and early adult years into
vastly broader terrain. As you can see in the
Timeline of Events (See page 4), since these early
days PS has undergone many changesnot just in
expanding the number of activities its willing to
consider, but also in revising the very definition of
the concept of performance itself. As Peggy
Phelan wrote after NYUs 1995 conference called
The Future of the Field,
While theater and anthropology certainly
played a role in the generative disciplines of
performance studies, other points of contact
have also had exceptional force in the field.
Moreover, many of these points of contact are
instrumental to the future of the field, not
because theater and anthropology have ended
but because the function and force of those dis-
ciplines have been so thoroughly revised in the
past two decades.
Peggy Phelan, The Ends of Performance
The next pages of this brochure document some
of the stops and turns PS has taken in the last
two decades. While the road has been winding,
one thing has remained certain: PS asserts that
performance is the central constituent of the
fabric of social reality. It takes for granted that
appearances are actualities: it doesnt look for
hidden depth beneath the surface actions of an
individual or group, but instead sees those very
behaviors as intelligible constructs that, when
analyzed, can shed light on their makers. Thus
performancesbe they of an individual, group,
or society, or of language or technologyare
what is under the microscope in any PS investi-
gation. They are the data, evidence, records and
text of its inquiry.
Studies. Barbara
Kirshenblatt-Gimblett, with
her PhD in Folklore and
wide-ranging interests in
Jewish studies, museum dis-
plays, tourist performances
and the aesthetics of every-
day life, becomes its chair.
She would serve from 1980-
1992, and is credited with
transforming it into a fully-
fledged B.A. granting
department with 8 full-time
PS faculty members.
1980:
The Drama Review adds
the subtitle Journal of
Performance Studies to
signal its more inclusive
approach to performative
behavior.
1981-82:
Victor Turner, an anthropolo-
gist who had articulated a
continuum of theatrical
behavior in his book From
Ritual to Theater, invites
Richard Schechner to help
plan a World Conference on
Ritual and Performance.
Three related conferences are
held during this year, the first
on the Yaqui Deer Dancers of
the U.S. Southwest and the
second on the work of Suzuki
Tadashi. By Means of
Performance was written in
response to these fruitful
collaborations.
1984:
Northwestern University
begins the second major
Performance Studies depart-
ment in the US. Their
approach differs from NYUs
in its exploration of the per-
formative nature of speech
and communication.
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Continued on page 8
A Students Guide to Performance Studies | 7
But what is a Performance?
How can PS say that a French theater production
of La Cage aux Folles and a WWF wrestling match
are structured similarly? How can it see three dif-
ferent studentsone who studies Muslim prayer
services, another Miss America pageants, and a
third the Jamaica Carnivalas engaged in a similar
intellectual projects?
When Richard Schechner first coined the term
Performance Studies, he postulated that a per-
formance is any behavior that is twice-behaved
or restored. For him, performances are human
actions or events that have been constructed
through a multi-stage process: they have been
rehearsed and prepared, and are then framed, pre-
sented, highlighted or displayed in a heightened
fashion. Any given performance has a historyit is
the result of processes of learning and transmission
that have preceded (and may succeed) it. A per-
formance is the second (or third or fourth)
presentation of a practiced act.
Certainly, this seems true enough for a dance
performance, for instance, in which dancers train
for years, constantly revising and then re-present-
ing their craft. It is easy to see the complex dynam-
ics that help structure such a highly staged event.
But performers in religious rituals, sports or
gamessuch as the wrestler, Imam, Miss Texas or
Carnival acrobat we just introducedhave also
learned the behaviors specific to their event.
Genuflecting, the run-way stroll, and traditional
face-painting are behaviors that have likewise been
practiced and rehearsedand are now being pre-
sented. In fact, all behaviors, as we will see, have
been subjected to such a rehearsal process, having
been learned, revised and presented in a particular
milieu over time.
Therefore, in a PS project, behaviors are not
studied as mere objects in the abstract, but instead
in relation to the individual or group that exhibits
them. PS scholars are interested in the interactions
and relationships that performances create.
As Schechner writes
To treat any object, work or product as per-
formancea painting, a novel, a shoe, or any-
thing at allmeans to investigate what the
object does, how it interacts with other objects
or beings, and how it relates to other objects or
beings. Performances exist only as actions,
interactions and relationships.
Richard Schechner,
Performance Studies: An Introduction
For example, a PS scholar is not interested in the
performance object of Chinese acupuncture treat-
ment per se, but would study this action as it is
practiced in a certain environment, such as in
ancient China, contemporary China, or by Western
alternative-medicine practitioners at the New-Age
Amethyst Center in Davis Square, MA! In each
context, the PS scholar would investigate the
behavior of acupuncture practice: how it behaves
Questions to Get You Started:
When trying to understand a given performance, begin by asking some of the
following questions:
Who are the actors: elders, children, men only, animals, high-speed
automobiles?...
Where is the performance performed: on the street, in the National Theater,
a forest?...
Is it performed for someone: a parent, a crowded auditorium, God?...
What were the various processes that went into rehearsing and
presenting the show?
Is a change of state celebrated: from pre-pubescent girl to woman?
From ordinary man to religious elite? From guilty to innocent? Novice
to aficionado?
Who does the performance benefit, and whom does it exclude or oppress?
How?
What seems to be the function or consequence of this performance within
the society, and have these changed over time?
Performances
exist only as
actions,
interactions
and relationships.
Richard Schechner
vis--vis its particular milieu, how it was first
learned, and with whom it enacts relationships.
Lets take an example. A PS scholar would not
analyze the death penalty in the abstract. Instead,
the executions of Ethel and Julius Rosenberg are a
specific application of the procedure: there is noth-
ing neutral about those executionsthey were
shaped and performed within the thick of a partic-
ular culture. A PS scholar might ask how anti-
Communist Cold War rhetoric and the hysteria of
McCarthyism affected the investigation; how
media coverage shaped public opinion and the
speed of the executions; and how these particular
trials differed from the Salem witch hunts and
Medieval European scourges (to which they are
often compared).
But the PS study wont provide theoretical or
historical answers to those questions. It wont
regard McCarthyism and the executions as abstract
ideologies or objects that can be analyzed as such.
Instead, they are the composite of a series of
behaviors that were given shape, valued, and pre-
sented by a particular culture at a specific moment
in time. Similarly, analysis of the trial is not that of
a static object. Rather, like most plays, it contains
many acts, material that led up to it and whose res-
onance is felt long after any one curtain may fall. A
PS scholar cares about this entire performance
series. In the case of the Rosenbergs, he would ana-
lyze each aspect of this cultural performance to see
what it illuminates about the mid 20th century
American stage on which it unfolded.
Likewise, a PS scholar is not interested in ballet
performance in the abstract, but in how a given
performance was shaped, presented, and valued by
a particular climate. One might analyze Swan Lake
within its Imperial Russian environment, or in
Soviet revisions, or as it was imported to the U.S.
for the 1940 performance at the San Francisco
Ballet. Or one might examine the processes that
shaped that whole trajectory of performance.
Thus, the object may be the same, but each
cultural environment in which that object partici-
pates is unique. It is the interactivity of the event
that PS scholars study.
Lets take another example. A 6 year old girl
puts a crown on her head as an abstract action
tells us very little. But when we witness a 6 year old
girl putting on a crown in a particular environ-
ment, it can now be analyzed as a performance, a
behavior that was learned, practiced and given
meaning by a certain group over time. When a
Hasidic girl in Jerusalem puts on the crown, she
may be participating in her communitys religious
ritual; she is dressing up as Queen Esther for a
Jewish celebration of Purim. When a kindergarten-
er in suburban Chicago does it she may be trying
to adorably woo her parents to let her stay up past
her bedtime. And when done by a village girl in
Chinas southwest Gansu Province, she may be
imitating her older sister as she prepares to don the
traditional headdress of womanhood. When each
little girl puts on the hat, then, she is performing a
behavior that is not-for-the-first-time: this ritual
has already been structured and given meaning by
her society; she herself may even have performed it
before. That is what Schechner means by twice-
behaved. This action has been learned and repeat-
ed either by her, or by her society, prior to this
given event. We look at it after the factin its sec-
ond presentationto learn what this performance
reveals about the cultural processes and belief
structures that first gave rise to it.
Victor Turner offered the statement By their
performances ye shall know them, at the opening
of the 1981 World Conference, and Schechners
book that emerged from that conference is entitled
By Means of Performance. Both these phrases con-
clude that only by studying performances in their
various contexts, expressions and historical
8 | A Students Guide to Performance Studies
1990:
NYU celebrates the 10th
anniversary of its PS depart-
ment by holding the first
U.S. Performance Studies
conference.
1993:
A performance studies focus
group within The Association
for Theater in Higher
Education (ATHE) forms.
1995:
As a follow-up to NYUs 1990
gathering, Peggy Phelan
chairs Performance Studies:
The Future of the Field, a
conference attended by
upwards of 500 people. Her
The Ends of Performance is a
collection of articles and
papers from the event. In
the introduction she reflects
on the conferences origins:
We hoped that the 1995
conference, billed as the first
annual event, would cele-
brate and critique the rapid
institutionalization of the
field. Northwesternagreed
to host the second annual,
and we were willing to
wager that a two-year com-
mitment would produce a
third.
1996:
The second PS conference is
held at Northwestern
University.
1997:
The third PS conference is
held at Georgia Tech.
1997:
The first worldwide associa-
tion devoted solely to
Performance Studies is
founded: Performance
Studies international. PSi is a
professional association that
promotes communication
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A Students Guide to Performance Studies | 9
Academic disciplines
are most active at their
ever-changing interfaces.
Richard Schechner
S A M P L E P E R F O R M A N C E S T U D I E S P R O J E C T S
Here are some examples of PS interdisciplinary research projects. Each of these papers investigates points of contact,
to use Schechners phrase, between PS and (at least) one other Harvard department.
Performance and
1. The Study of Religion:
Trembling, Trance, Shaking and
Shuckling: A Comparative Look at the
Physicality of Ecstatic Prayer
2. Women, Gender and Sexuality:
Staged Starvations: A Cultural
Evaluation of Anorexia Nervosa as
Teen-Age Performance in the U.S.
3. Comparative Literature:
King Lear in New Delhi, Hamlet
in El Salvador. 20th Century World
Translations of Shakespearean Drama.
4. African Studies:
Performing Colonialism: Belgian
Conquest Propaganda and Narrative
Strategies in the Congo, 1860-1960.
5. Psychology:
Stages of Mourning, Staging
Mourning: Dances of Healing by
U.S. Artist-Bereavement Groups
in the 1960s.
6. History:
Marionette Theater in Prague,
1930 to 1975: The Rise and Fall
of a Civic Tradition.
7. Visual and Environmental Studies:
The Performance of Space:
Acoustic Design at the Ancient
Theater of Epidaurus.
8. Government:
All Eyes on Tiananmen: Student
Protest in Beijing and its International
Media Audience, April 15-June 4, 1989.
9. Computer Science:
Id Like to PresentMyself:
Fashioning Personal Identity on
Internet Dating Sites.
10. Dramatic Arts:
The Sound of the Silence: The Role of
the Pause in Pinters Dialogue.
11. Near Eastern Languages and
Civilizations:
Acts of Holy War: The Changing Face
of Jihad Practice, 1948-2006.
12. East Asian Languages and
Civilizations:
Kabuki Costume Design and the
Performance of Masculinity
in Ginza, Tokyo.
13. Social Studies:
Brechts Theory of Observation:
The V-Effekt as Tool of Social Critique.
14. Jewish Studies:
Speaking through the Page:
Scholem Aleichems Tevye and Reader
Response Theory.
15. History of Science:
Dr. Robot: Laparoscopic Cancer
Treatment and the Robots Who
Perform It. The History of a Procedure.
To name the first 15 that come to mind.
What will your paper be?
One of the key features of twenty-first century performance is its
boundlessness and its capacity to cross borders.
Henry Bial
10 | A Students Guide to Performance Studies
and exchange between schol-
ars and practitioners working
in the field of performance. It
has staged numerous interna-
tional conference and festival
gatherings.
2001:
Membership in ATHEs
Performance Studies focus
group reaches 450.
2005:
PSi #12 is held at Brown
University, March 30-April 1.
Its name, Becoming
Uncomfortable, was taken
from Brown President Ruth
Simmons university lecture,
in which she stated that stu-
dents must become uncom-
fortable in order to grow, in
order to build an education,
a life, a world. The confer-
ence advertisement reads: It
seemed an appropriate title
for a PSi conferencean
open invitation for engage-
ment with all those issues
that most challenge our
sense of boundaries, our cat-
egorical constructions, our
strategies for order. Our con-
ference title understates,
closets, titillates, misarticu-
lates, sneaks-up upon, mid-
dle-classifies, play-acts, and
jumps track. Presented
papers included: Dont Dat
Coon Tink He Very Hot?:
Embodied Deviance and the
Construction of Black
Cosmopolitanism in the
Ragtime Era; Toy Theater in
an Age of Terror; What Kind
of Cunt Do You Really Want
To Be? Gender, Performance,
and Queer World-Making in
Contemporary New York City
Black and Latina Ballroom
Culture; Performing Muslim
in the American Melting Pot;
and I Blog Therefore I Am:
Chatrooms, Blogs and
Identity Formation.
processes can we inquire into an individual or
group. In a world that is everywhere structured by
human activity, behaviors, actions and events are
now the keys to understanding. What the book
was, Schechner states, the performance has
become.
Other Performances:
All the Worlds a Stage
Other theorists go a step further in opening up the
term performance. Like Turner and Schechner,
they are not merely concerned with formal stage
theater, but neither do they stop only at other
social dramas like religious rituals and games.
These thinkers take Shakespeares theatrum
mundi idea quite seriously. Perhaps all the worlds
a stage, they muse. Perhaps all events, even the
mundane and seemingly natural grit of everyday
life, are kinds of performances.
In 1959, Erving Goffman wrote an influential
piece called The Presentation of Self in Everyday
Life, in which he argued that daily life bears a dra-
matic structure: each of us is an actor who plays
certain parts in front of a believing audience of
colleagues, acquaintances, family and friends.
Goffman called this disposition a frontthe pos-
ture one employs to convince someone else of
something, or to earn a certain social standing. He
pointed out that an individual may not conscious-
ly be aware of his performance. But this fact does
not mean that his behavior is any less performed
than that of a stage actor who is well aware he is
playing a role.
It does take deep skill, long training and psy-
chological capacity to become a stage actor. But
this fact should not blind us to another one:
that almost anyone can quickly learn a script
well enough to give a charitable audience some
sense of realness in what is being contrived
before them The legitimate performances of
everyday life are not acted or put on in the
sense that the performer knows in advance just
what he is going to do But [this] does not
mean that [the person] will not express him-
selfin a way that is dramatized and pre-
formed.... In short, we act better than we know
how.
Erving Goffman,
Presentation of Self in Everyday Life
In fact, Goffman wrote, most of us act so well that
we fully believe in the part we are playing, the self
we have presented. We bolster our front with the
use of supporting props in appropriate settings:
we wear a white coat to assure our patient he is in
good hands, we hold up our badge to demonstrate
that we have a right to search a house, we cross our
arms, speak in a stern voice and wag a finger to
warn a child against crossing us. Often, when we
behave these actions repeatedly over time, we
ourselves come to believe the impression of reality
we sought to engender. We step so fully into our
roles that the processes that went into structuring
them are long forgotten. We too are taken in by
the show.
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All the worlds a stage /
And all the men and women merely
players; / They have their exits and
their entrances; / And one man in his
time plays many parts. /
William Shakespeare, As You Like It, 2, 7: 139-42
A Students Guide to Performance Studies | 11
Performance is always performance for some-
one, some audience that recognizes and vali-
dates it as performance even when, as is occa-
sionally the case, that audience is the self.
Marvin Carlson, What is Performance?
When we play this same part to the same audience
on many different occasions, the realness of our
role is cemented, and a social relationshipdoctor
to patient, police to criminal, parent to childaris-
es. Goffman helped demonstrate that the rehearsal
process of learning and repetition so familiar to us
in theater and ritual likewise structures each of our
every-day actions and behaviors. Daily life, too, is
choreographed.
Goffmans insights expanded PSs lens of focus
to allow every facet of social reality to be seen as a
performance, constructed through behaviors,
actions and events. Nothing about the personae we
saw above is natural, inherent, or necessary.
Behaviors and selves have been constructed
through acts which are learned, valued, revised
and repeated over time.
Speech acts
So far we have seen that ritual, sports, games, and
everyday behavior can all be regarded as perform-
ances. Other thinkers did not just stop there.
J.L. Austin, a U.S. philosopher and linguist, gave
a series of lectures at Harvard in 1962 which later
became known as the book How to Do Things with
Words. He argued that certain kinds of speech, too,
are like performances. Austin demonstrated that
there are certain kinds of speech that dont simply
express or convey informationthey are not sim-
ply signs that convey the words inner meaning.
These speech utterances actually do something;
they create or usher in a new state of affairs. Take
for example the phrases, I bet you $10 that or I
promise you Ill be home by 8, or I do take thee as
my lawful husband In each of these statements,
the speaker is not just expressing herself; her words
actually constitute an event. Spoken in the right
context, these words function as actions: in saying
them, she puts her money on the line; commits to
coming home; or binds herself to another person
in a publicly-sanctioned relationship. Even if she is
internally ambivalent, the force of her words is
such that, once uttered, a new reality is created.
Thus, certain kinds of speechpromises, bets,
namingsare akin to actions. They too are kinds
M A J O R B O O K S I N T H E F I E L D
The Twentieth Century
Performance Reader,
Michael Huxley and Noel Witts, eds.
The Performance Studies Reader,
Henry Bial, ed.
From Ritual to Theater:
The Human Seriousness of Play,
Victor Turner
Performance Studies:
An Introduction,
Richard Schechner
The Future of Ritual,
Richard Schechner
Between Theater and Anthropology,
Richard Schechner
By Means of Performance:
Intercultural Studies of Theater
and Ritual,
Richard Schechner
and Willa Appel, eds.
Performance:
A Critical Introduction,
Marvin Carlson
Theories of the Theater,
Marvin Carlson
Meaning in Motion:
New Cultural Studies of Dance,
Jane C. Desmond, ed.
The Explicit Body in Performance,
Rebecca Schneider
Professing Performance:
Theater in the Academy from
Philology to Performativity,
Shannon Jackson
Teaching Performance Studies,
Nathan Stucky and
Cynthia Wimmer, eds.
Theatricality,
Tracy C. Davis and Thomas Postlewait, eds.
Opera, or, the Undoing of Women,
Catherine Clement
Gender Trouble,
Judith Butler
Unmarked: The Politics of Performance,
Peggy Phelan
The Ends of Performance,
Peggy Phelan and Jill Lane, eds.
The Routledge Reader in Gender
and Performance,
Lizbeth Goodman, ed.
Critical Theory and Performance,
Janelle G. Reinelt and
Joseph R. Roach, eds.
For More than One Voice: Toward a
Philosophy of Vocal Expression,
Adriana Cavarero
Audience Participation: Essays on
Inclusion in Performance,
Susan Kattwinkel, ed.
Reading the Material Theater,
Ric Knowles
Perform, or Else: From Discipline
to Performance,
Jon McKenzie
The Intercultural
Performance Reader,
Patrice Pavis, ed.
Performing the Unnameable:
An Anthology of Australian
Performance Texts,
Richard James Allen and
Karen Pearlman, eds.
A Sourcebook of African-American
Performance: Plays, Peoples,
Movements,
Annemarie Bean, ed.
The Sexual Subject:
A Screen Reader in Sexuality
Of the Presence of the Body: Essays
on Dance and Performance Theory,
Andre Lepecki, ed.
And, to give you a sense of the
explosion of related literature in
recent years, note that there are two
different Performance Studies texts
with the same title!
Performance Anxieties:
Re-producing Masculinity,
David Buchbiner
Performance Anxieties: Staging
Psychoanalysis, Staging Race,
Ann Pellegrini
(There are countless others!)
12 | A Students Guide to Performance Studies
any of us, after seeing a beautiful or moving perform-
ance event, try to understand and communicate its
power through writing: perhaps we reflect privately in a
journal about our experience, send an email to friends encourag-
ing them also to go, or jot down notes about what we felt as
thoughts for a paper we are working on. Electrified, saddened, or
made contemplative by a performance, often we turn to written
language to make sense of the affecting power of what we have
seen and heard.
Yet in our admiration of a performances energy, we run the
risk making it ours rather than letting it stay itself.
For writing about performance presents a peculiar problem:
can we capture the intensity of the 3-dimensional spectacle in 2-
dimensional language? In putting what was a non-verbal, elec-
tric, live event down on our paper, do we not trap it in the very
fixednessthe basis in written textit so gracefully eludes? Can
we preserve the vivid and tactile language(s) of the event itself
body, color, sound, voice, space ?
One might ask, then: why write about performance events
that themselves may wish to be only of the moment? Does writ-
ing about a performance afterwards alter or mar its spontaneity?
Do we flatten its power, literally, by transferring it to a computer
screen or 9 X 11 yellow legal pad?
Many PS people will answer No. The opportunity to linger
over what a performance has to say is the work and gift of this
field. Writing about performance enables us to keep wrestling
with the event, to keep learning what it has to teach us. It
lives on, albeit in altered form, in our memory and minds eye.
Sometimes we even broaden its audience, extending its power
and challenge to those who read our written work about it.
Yet many PS scholars also know that it is essential to preserve
some of the feel of a performance in our writing. They encour-
age the use of evocative, full-bodied imagery to convey the affec-
tive quality of the spectacleits colors, smell, rhythm, the palpa-
ble anxiety of a theater house, the pounding of feet on wet grass
in a rain dance...
A post-modernist movement known as Performative Writing
goes a step further. Performative Writing is not just writing about
a performance, it is a form that itself strives to be a performance.
It wonders whether J.L. Austins insights about spoken speech
also hold for written. In How To Do Things With Words, Austin
wrote that words do not just convey fixed meanings, but actually
do somethingthey enact a new reality. Those who practice
Performative Writing try to blur the boundaries between speech
and written language so that writing itself may become like a
performance, a sensory event.
Leading Performance Studies scholar Peggy Phelan, among
others, practices Performative Writing. Here is an excerpt from
her essay To Suffer a Sea Change, a piece she wrote during her
debilitating eye surgery. You will notice in it that, la Austin, her
language is not merely a communicator of fixed meaningher
words are not statements that simply report information. Rather,
she strives to have her language recreate the pain and anesthe-
sia-induced disorientation which she bodily experienced during
the travail.
My eye, which is frozen, can still see things as they pass
over it... colors I have never seen before... I am seeing the
roof of my own eye from the interior side. It is utterly
breath stopping. I cannot speakWords walk to the
threshold but will not enter the rooms of the body where
pain runs wild. Deserted by words, pain lacks temporal
sequence or spatial order: it makes a sound that syntax
cannot carry.
Phelan finds her doctors too-easy medical narrative inadequate
to address the reality of what has seized her body. No words can
sensibly explain her agony, for pain makes a sound that syntax
cannot carry. Instead, Phelan uses language to recreate her sen-
sory state. She employs all her faculties in the attempt to repre-
sent, not explain her experience: I crane to hear my blankness,
stutter toward seeing my blindness.
Phelans words do not simply contain facts or pass ready-made
content from her to the reader. Instead, they do something.
They create a vivid reality in which we too are pained and slip
with her into a state of blurry confusion. They help her navigate
her way to a changed identity. They enact perception. As such,
her essay was seen as a tour de force, a literary application of
Austins speech-acts, which inaugurated Performative Writing as
an emerging genre.
Performative Writing is often loosely autobiographical, or it
may even be seen as constitutive of the writers identity, helping
him find his way by means of the writing. It is thus an application
of the PS notion that no author, or field, knows it all; it does not
ask that the writer have only conclusive information to share,
clear messages to impart. Also known as poetic scholarship or
auto-ethnography, Performative Writing knows that the author
too is on a journey.
For more information on Performative Writing, see Phelans
introduction to The Ends of Performance and Debra Pollocks
chapter Performative Writing in the same book.
W R I T I N G A B O U T P E R F O R M A N C E :
C H A L L E N G E S A N D P O S S I B I L I T I E S
M
A Students Guide to Performance Studies | 13
of performances. As Austin said it, they have
performative effects.
Austins work gave us new ways of thinking
about what speech and language can achieve. His
insights were later extended by Peggy Phelan and
others who endowed written language with a simi-
lar capacity to perform, to actually do something.
(See Writing About Performance on page 12.)
Gender
Some combination of Goffmans and Austins
insights led Judith Butler, now professor of
Comparative Literature and Rhetoric at the
University of California, Berkeley, to articulate in
the late 1980s and 90s another kind of perform-
ance: the making of gender.
For Butler, ones genderbeing a man or a
womanis not an expression of some natural or
real essence, but instead is a constructed process.
Butler took seriously Simone de Beauviors origi-
nal insight that One is not born a woman; one
becomes woman. A womans behaviorshow she
dresses, has sex, expresses her emotions, whom she
marrieshave been learned, practiced and passed
on according to convention. There are already
fixed notions of how to do these things, which a
woman inherits from her cultural environment.
She plays the part, then, of scripted roles already
operative in her society.
Thus gender is another performative act
whichlike a Broadway musical, prayer gathering,
or police-officer making an arrestis choreo-
graphed, rehearsed, and presented. Gender is real
only insofar as, and in the specific ways that, it is
performed.
Gender reality is performativeThe [gender]
act that one does, the act that one performs, is,
in a sense, an act that has been going on before
one arrived on the scene. Hence, gender is an
act which has been rehearsed, much as a script
survives the particular actors who make use of
it, but which requires individual actors in order
to be actualized and reproduced as reality once
again.
Judith Butler, Performative Acts and Gender
Constitution
Race
Like gender, race too can be seen as a performative.
It is not descriptive of some prior essence; instead,
it is a constructed narrative whose meaning has
been structured, repeated and revised, over time.
Just think: What does it mean to be a black per-
son? Negro? Colored? Afro-American? African
American? Race is a performative act whereby cul-
tural narratives are branded, removed, and re-
imposed on bodies that do not of themselves pos-
sess specific meaning. The body is a stage on which
socially-determined meanings are formed, prac-
ticed, repeated, changed and passed on. PS scholars
work to explain the mechanics of the performance.
Butlers thought is deeply political. If gender
and race are performances, one can openly flaunt
their constructed nature. She calls on scholar-
activists to re-obtain the critical distance that has
been lost through hyper-repetition, and to disman-
tle the artifices that have reified these performanc-
es. Many PS people produce work and build lives
that reveal and resist the performance processes by
which imprisoning social roles have been learned,
practiced and passed on.
Gender reality is
performative
The [gender] act that
one does, the act that
one performs, is, in a
sense, an act that has
been going on before
one arrived on the
scene. Hence, gender
is an act which has
been rehearsed, much
as a script survives the
particular actors who
make use of it, but
which requires individ-
ual actors in order to
be actualized and
reproduced as reality
once again.
Judith Butler
14 | A Students Guide to Performance Studies
Yet Still Other Forms
Yet other scholars are quick to point out that there
are other performances that may not follow a ritu-
alized paradigm or take place in heightened states
of intensity or separation from mundane activity.
Indeed, there are performances of highly norma-
tive systemssuch as the performances of cars,
machines, digital media, Wall Street markets,
Internet search engines, text-messaging and the
like. More than 20 years since its infancy in
anthropological research, PS research now extends
to performances that are not physical, embodied,
or even human! As Barbara Kirshenblatt-Gimblett
writes,
Performance as an organizing idea has been
responsive not only to new modes of live action,
but also new technologies[We need to] take
issue with the assumption of human agents, live
bodies, and presence as organizing concepts for
Performance StudiesIf boundaries are to be
blurred, why not also the line between live and
mediated performance?
Barbara Kirshenblatt-Gimblett,
Performance Studies
Critics: A Slippery Slope to Nowhere?
As we noted at the beginning of this discussion,
one fact about PS is uncontested: its borders are
porous and ever-expanding. It desires to bring ever
new forms of performance into the conversation. It
is an inter-disciplinary and de-centered field,
crossing boundaries, always in pursuit.
Performance studies is interin between. It is
intergenric, interdisciplinary, intercultural
and therefore inherently unstable. Performance
studies resists or rejects definition. As a disci-
pline, PS cannot be mapped effectively because
it transgresses boundaries, it goes where it is not
expected to be. It is inherently in between and
therefore cannot be pinned down or located
exactly. This indecision (if thats what it is) or
multidirectionality drives some people crazy.
For others, its the pungent and defining flavor
of the meat.
Richard Schechner,
What is Performance Studies Anyway?
But there are people whom PS drives crazy. Some
critics reject its behavioralist approach to all
human phenomena, wondering why What is Real
has been reduced to an outcome of scripted
actions and social repetition. Others will quip that
when any action can be regarded as performance,
there is nothing that wont be cast into PSs net!
With such expansive wings and hungry appetite,
Performance Studies will then not only be difficult
to describe, but also difficult to contain.
It has gradually become more and more diffi-
cult to say exactly what counts as Performance
Studies. The field covered by PS has become
much more than what it is not, engaging in
issues from almost all spheres involving human
agency and even beyond To perform and
performance have become like a Pac-Man,
swallowing everything they encounter.
Freddie Rokem, Tel Aviv University
To perform and performance have become
like a Pac-Man, swallowing everything they encounter.
Freddie Rokem
A Students Guide to Performance Studies | 15
S O M E P E R F O R M A N C E S T U D I E S J O U R N A L S :
TDR/The Drama Review was first established in 1956 as Tulane
Drama Review. In 1980 TDR added the subtitle Journal of
Performance Studies. With an emphasis on experimental, avant-
garde, intercultural, and interdisciplinary performance, TDR cov-
ers dance, theatre, performance art, visual art, popular entertain-
ment, media, sports, rituals, and performance in politics and
everyday life. Published by MIT Press, it is well-known as a basic
resource for keeping up with contemporary performing arts and
performance theory.
Women & Performance: A Journal of Feminist Theory is a bi-
annual publication that features essays, scripts, interviews and
articles on performance from interdisciplinary feminist perspec-
tives. Women & Performance was launched in 1983 by a group of
graduate students in the Department of Performance Studies at
NYU as a forum for discussion of gender and representation. It is
committed to feminist writing and activism, and works to refor-
mulate notions of performance and performativity so as to
advance, challenge or reinvent issues critical to ongoing discus-
sions surrounding gender and sexuality.
PAJ: Journal of Performance and Art. Since its founding in
1976, PAJ has been an influential voice in the arts, offering
extended coverage of the visual arts (such as video, installations,
photography, and multimedia performance), in addition to
reviews of new works in theatre, dance, film, and opera. PAJ
brings together theatre and the visual arts in a challenging cross-
media perspective. A special section entitled Art & Performance
Notes offers reviews of current productions and gallery exhibits,
as well as international festival reports. Published by Johns
Hopkins.
The Journal of Ritual Studies. Founded in 1987, the Journal of
Ritual Studies deals exclusively with ritual in all its aspects. Its
interdisciplinary audience includes scholars from anthropology,
religious studies, sociology, psychology, performance studies,
ancient, medieval, early modern and contemporary history, area
studies, philosophy, art, literature, dance, and music. The Journal
provides a forum for debate about rituals role and meaning, and
seeks better definition for this rapidly growing field.
Theater Magazine. Yale University School of Dramas publica-
tion, focuses primarily, but not exclusively, on experimental the-
aterAmerican and internationaland theater that touches on
political and cultural debates.
Asian Theater Journal is dedicated to the performing arts of
Asia, focusing upon both traditional and modern theatrical forms.
It offers descriptive and analytical articles, original plays and play
translations, book and audio-visual reviews, and reports of cur-
rent theatrical activities in Asia.
Dance Magazine provides the most entertaining, most beauti-
ful, up-to-date, in-the-know information for serious and aspiring
dancers, dance teachers and professionals. It is a well-known
resource for reviews of American and international dance per-
formances, as well as for feature articles on dancers, choreogra-
phers, dance companies and productions.
Text and Performance Quarterly publishes scholarship that
explores and advances the study of performance as a social, com-
municative practice; as a technology of representation and
expression; and as a hermeneutic. Articles address performance
and the performative from a wide range of perspectives and
methodologies, and they investigate all sites of performance from
the classical stage to popular culture to the practices of everyday
life. Published by Routledge.
Performance Research, a Britain-based journal published by
Routledge, promotes a dynamic interchange between scholarship
and practice in the field of performance. Interdisciplinary in vision
and international in scope, its emphasis is on research in contem-
porary performance arts within changing cultures. It encourages
work that challenges boundaries between disciplines and media.
Each issue contains articles, documents, interviews, reviews as well
as illustrations and original artworks.
16 | A Students Guide to Performance Studies
New York University: The first PS program in the U.S. Its historical basis
is in theater and dramatic arts, but in 1980 the department adopted Richard
Schechners Broad Spectrum Approach, expanding its focus to include a range
of performance events, such as rituals, games, sports, popular entertainment,
healing practices and ultimately the performance of self in everyday life.
Northwestern University: The second PS program founded in the U.S.,
in 1984. Formerly known as the Department of Oral Interpretation, NUs
program differs from NYUs in its focus on the performative nature of lan-
guage. If NYU enlarged the concept of theater to include other theatrical
behaviors, Northwestern expanded the notion of literature to include other
forms of aesthetic communication, such as storytelling, movement pieces,
social greetings, displays of emotion, even jokes and everyday conversations.
Other PS programs in the States are located at University of California,
Berkeley (Department of Theater, Dance, and Performance Studies) and
Brown University (Theater and Performance Studies), among others.
Countless other departments in colleges and universities in the U.S.such as
English, Anthropology, Theater Studies and Cultural Studies programs
offer coursework in, and devote research to, PS related topics.
Internationally-based Performance Studies programs include those at the
University of Warwick, University of Sydney, and The Centre for Performance
Research at the University of Wales.
In the Drama and Performance Studies program at the University of
Kwazulu-Natal, South Africa, one can participate in the Prison Theater
initiative, which stages post-apartheid testimonies of South Africas black
population as a means to engage national questions of race, oppression
and identity.
International institutes such as The Hemispheric Institute of Performance
and Politicsan innovative consortium of artists, scholars, and institutions in
the Americaslikewise exist. Its founding members are from Brazil, Peru,
and the U.S.
P E R F O R M A N C E S T U D I E S
P R O G R A M S I N T H E U . S .
A N D T H E W O R L D
For some, then, PS is too a voracious field: the
broader its reach becomes, the more it loses critical
punch. Others say that PSs politics are slack, that it
focuses only on surfaces behaviors and, in doing so,
demonstrates its superficiality and relativism. If a
scholar studies suicide bombings as only a kind of
performance, has the field no moral compass?
With this question we return to our initial
conundrum: PS can frustrate. It is a hungry, unpre-
dictable concept and field. It side-winds, sometimes
evading our grasp. As Marvin Carlson writes, it is
futile to seek some overarching semantic field to
cover such seemingly disparate usages as the per-
formance of an actor, of a school child, of an auto-
mobile.
And its true. Just one look at the sample proj-
ects enumerated in this essay, and you realize how
many disciplinary boundaries have been crossed.
Stage theater, dance, religious ritual, everyday
behavior, language, gender and race and technology
are all treated alongside one another. The only fea-
ture they share in common is that they are behav-
iors that are constructed through performance
processes.
For PS people, thats no small thing. Learning to
think in terms of behaviors, actions, events, per-
formances, performativeswell, PS people hope,
that way of looking at the world can bring about
great changes. One often even detects a kind of
utopianism that permeates the literature.
A Students Guide to Performance Studies | 17
Performance Studies:
Consequences and Advantages
PS is intercultural
Turner and Schechner pioneered the field with the
insight that there is a persistent theatricality to all
cultures behavior. The assertion of this universal
language, this notion that the fabric of human life
is everywhere structured by behavioral processes,
dismantles the we/they ethnocentrism of much
Western scholarship. We all have more in common
than not.
A performance is declarative of our shared
humanity, yet it utters the uniqueness of partic-
ular cultures. We will know one another better
by entering one anothers performances and
learning their grammars and vocabularies.
Victor Turner, World Conference on Ritual
and Performance
Furthermore, formerly in anthropological
research, one would set out to study The Other
a culture different than ones own. In a PS project,
though, I can turn that critical lens onto myself,
scrutinizing my own or my societys actions in
order to understand the structure, history and
rationale of these performances.
PS is intergenric
PS projects tend to bring together (at least) two
departments or disciplines that would otherwise
be kept apart. This feature is a legacy of
Schechners insight that theatrical and anthropo-
logical thought share points of contact; PS is
interested in research that illuminates other areas
of convergence. (See Sample PS Projects on
page 9 for examples of work that is situated
between any two established disciplines).
The ongoing challenge of our collaborative
agenda is to refuse and supercede the deeply
entrenched division of labor, apartheid of
knowledges, that plays out inside the academy...
The division between theory and practice,
abstraction and embodiment, is an arbitrary
and rigged choice, and like all binarisms it is
booby-trapped Our radical move is to turn,
and return, insistently, to the crossroads.
Dwight Conquerwood, Performance Studies:
Interventions and Radical Research
PS challenges dependence upon written text
PS offers a corrective to the preponderance, if not
dominance, of literary, text-based criticism, favor-
ing instead a new mode of performance-based
analysis. As Henry Bial writes, Textualismthe
emphasis on what can be written downunfairly
devalues the knowledge and experience of many
subjugated peoples. Much of the world expresses
itself in many other literatures that are not exclu-
sively text-based, whose language(s) PS hopes to
bring back into the conversation.
By theorizing embodiment, event and agency in
relation to live (and mediated) performance,
Performance Studies can potentially offer
something of a counterweight to the emphasis
in Cultural Studies on literature, media and text
as an extended metaphor for culture.
Barbara Kirshenblatt-Gimblett,
Performance Studies
A performance is
declarative of our
shared humanity,
yet it utters the
uniqueness of
particular cultures.
We will know one
another better
by entering one
anothers
performances
and learning
their grammars
and vocabularies.
Victor Turner
See Sample PS
Projects on page 9
for examples of
work that is situated
between any two
established disciplines.
18 | A Students Guide to Performance Studies
PS challenges Rationalism, Linearity,
Knowledge is Power
PS sees phenomena as provisional and in
processit resists notions of fixed Truths and
devalues final products. It shares the characteris-
tics of its subject, performanceand performance
shares the characteristics of life: unpredictable,
dynamic, here today gone tomorrow. PS does not
wish to whitewash the worlds ambiguity, or unify
its inconsistencies. Its well-suited to its subject,
then, and it wont try to rigidify and make perma-
nent what wants to stay live and of the moment.
Peggy Phelan writes that PS can embolden us
against the dangers of excessive literalism and lin-
ear-ism. PS is alert to each rich, messy, present
moment. It distrusts Grand Narratives.
The agency of domination does not reside in
the one who speaks (for it is he who is con-
strained), but in the one who listens and says
nothing; not in the one who knows and
answers, but in the one who questions and is
not supposed to know.
Peggy Phelan, Unmarked
In another place, Phelan writes that this mode of
thinking is a statement of allegiance to the radical-
ity of unknowing who we are becoming. Unlike
the thrust of so much academic scholarship, PS
admitseven somewhat proudlywhat it doesnt
know. In that, perhaps, it keeps us honest.
Passing the Torch
If what you have read here excites you, if you want
to ask a question, if some of it seems just plain
wrong, and/or if you are burning to try your own
hand in the PS deckyou are most definitely wel-
come. Performance Studies researchers dont want
simply to bring new kinds of performances into
the mix. They also see Performance itself as a cat-
egory under construction, an organizing concept
that will be revised in light of the many activities
to which it is addressed. As Jon McKenzie writes,
Our rehearsal of a general theory must thus seek
out other sites, other premises, other performanc-
es. The concept of performanceand the field
dedicated to its studywill readjust its very
meaning as further insight demands.
More than just celebrating intellectual
curiosity, then, PS is a challenge and a plea for
the next generationi.e., you!to articulate
new definitions of performance that will push
the field forward, deepening our understanding
of ourselves along the way.
As Schechner writes at the end of his 2002
book, as a method of studying performances, this
new discipline is still in its formative stage.
My intention is,
in due time,
to found a school,
to build a theater
where a hundred
little girls shall be
trained in my art,
which they,
in their turn,
will better.
In this school,
I shall not teach
the children to imi-
tate my movements,
but to make
their own.
Isadora Duncan
A Students Guide to Performance Studies | 19
Performance:
Any action that is not-for-the-first timethat has been learned, rehearsed, and is then
twice-behaved, or performed. PS scholars claim that any action follows this performative
paradigm, even those we typically assume are natural or spontaneous (like getting dressed
in the morning, or being a man). PS scholars study how the behavior is prepared and
presented as a means to understand an individuals or groups values and organization.
Performative/Theatrical:
Although these words obviously derive their meaning from the worlds of performance
and theater, they can also be abstracted from the performing arts and then applied to any
and all aspects of human life. In PS, performative acts, like gender and language, have
features that are structured like a performance.
Play:
Play is often thought of as the spontaneous or unplanned aspect of a given performance,
an element of surprise or freedom that cant be prescribed. As Henry Bial writes, Where
ritual depends on repetition, play stresses innovation and creativity. Some scholars
formulate performance as the product of structured ritual, plus its unbounded
counterpart, play.
Interdisciplinary:
A mode of inquiry that is genre-blurring, that tends to cross conventionally-divided aca-
demic disciplines or departments. PS is highly interdisciplinary; it openly challenges rigid
binaries, instead seeing an underlying performativity to all actions, whether verbal,
written or physical. It can thus study literature, technology, dance, everyday life, religion,
sports, gender identityall examples of performative behavioralongside one another.
Liminal:
The in-between state of heightened intensity in which a ritual or performance is enacted.
The liminal space is the one that occupies the PS scholars attention, because it is there that
the potential of the behavior, action, or event is achieved. PS understands itself as liminal
always between two other fields, a site where new and transformative insight can
be found.
G L O S S A R Y O F T E R M S :
As a method
of studying
performances,
this new
discipline is
still in its
formative stage.
Richard Schechner
Acknowlegments:
This guide was written by Shana Komitee, PhD candidate in GSAS, for Professor Julie Buckler
as a teaching resource for Literature 128: Performing Texts.
It was made possible by a Gordon Gray Faculty Grant for Writing Pedagogy.
Looking at performance and writing about those visions
are the means by which I approach my truest endsto love what rationalism
says is phantasmatic, to imagine and realize, however tentatively
and momentarily, a world elsewhere.
Peggy Phelan