- 288 pages
- English
- PDF
- Available on iOS & Android
About This Book
Opening Acts: Performance in/as Communication and Cultural Criticism offers new, rigorous ways to analyze communication and culture through performance. Editor Judith Hamera, along with a distinguished list of contributors, provides students with cutting-edge readings of everyday life, space, history, and intersections of all three, using a critical performance-based approach. This text makes three significant contributions to the field - it familiarizes readers with the core elements and commitments of performance-based analysis, links performance-based analysis to theoretical and analytical perspectives in communication and cultural studies, and provides engaging examples of how to use performance as a critical tool to open up communication and culture.
offers new, rigorous ways to analyze communication and culture through performance. Editor Judith Hamera, along with a distinguished list of contributors, provides students with cutting-edge readings of everyday life, space, history, and intersections of all three, using a critical performance-based approach. This text makes three significant contributions to the field - it familiarizes readers with the core elements and commitments of performance-based analysis, links performance-based analysis to theoretical and analytical perspectives in communication and cultural studies, and provides engaging examples of how to use performance as a critical tool to open up communication and culture.
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Table of contents
- Cover
- Contents
- Introduction: Opening Opening Acts
- Part I: Engaging the Everyday
- 1 - Becoming Other-Wise
- 2 - Telling Twisted Tales
- Part II: Animating Locations
- Introduction
- 3 - Bridging Haunted Places
- 4 - Looking for Stonewallâs Arm
- Part III: Interrogating Histories
- Introduction
- 5 - Rethinking Elocution
- 6 - Diverging Paths in Performance Genealogies
- Part IV: Synthesizing Scholarship
- Introduction
- 7 - The Mechanical Bride of Yonville-lâAbbaye (Batteries Not Included)
- Part V: Embracing Performances
- Introduction
- 8 - Performing Theory/Embodied Writing
- About the Editor
- About the Contributors