scholarly journals Post-lesbian? Gendering Queer Performance Research

2015 ◽  
Vol 40 (1) ◽  
pp. 100-103 ◽  
Author(s):  
SARAH MULLAN
Keyword(s):  
Performance Studies ◽  
Doctoral Research ◽  
And Performance ◽  
Queer Performance ◽  
Contemporary Practice ◽  
Performance Research

‘Queer’ and ‘lesbian’ are terms that offer valuable interventions in the field of theatre and performance studies. Current scholarship largely does not account for an amalgamation of these two positions, but, as some female performers, such as Rosana Cade, are aligning their work with both terms, there is a need for a more nuanced discourse that accounts for an engagement with the histories ascribed to ‘queer’ and ‘lesbian’ in performance and what these terms offer. My doctoral research seeks to investigate whether the term ‘post-lesbian’ is beneficial for analysing contemporary practice that draws from both positions.

Ostermeier’s Ein Volksfeind on the Anniversary of Turkey’s Gezi Park Protests

2020 ◽  
Vol 36 (1) ◽  
pp. 29-41
Author(s):  
Hanife Schulte
Keyword(s):  
Political Violence ◽  
Performance Studies ◽  
Local Politics ◽  
Harvard University ◽  
Stage Design ◽  
Doctoral Research ◽  
The People ◽  
Turkish People ◽  
And Performance ◽  
Performance Research

In this article Hanife Schulte discusses Thomas Ostermeier’s Ein Volksfeind, a German version of Henrik Ibsen’s An Enemy of the People that toured to the International Istanbul Theatre Festival in 2014. In borrowing Maria Shevtsova’s notion of the sociology of performance, Hanife Schulte offers a sociological examination of Ein Volksfeind’s Istanbul performances and demonstrates how the first anniversary of Turkey’s Gezi Park protests at the time of the festival influenced the performances. These protests, which began in 2013, were in resistance to the Turkish government’s urban development plan for Istanbul’s Taksim Park. In her examination of the dramaturgy and stage design of the production and its Turkish reception, Schulte argues that Ein Volksfeind’s political dramaturgy-in-progress allowed Ostermeier to adapt its touring performances in Istanbul and transform them into events in which the Turkish audiences became fellow performers and adaptors who reflected on the Gezi Park protests. She also suggests that Ostermeier showed solidarity with the Turkish people resisting political violence and oppression in tackling their local politics. Hanife Schulte has completed three years of doctoral research in Theatre and Performance Studies at Tufts University and is an alumna of the Mellon School of Theater and Performance Research at Harvard University, where she participated in the 2019 Session on Migrations.

Translation, Adaptation, and Appropriation in Brook's Mahabharata

2018 ◽  
Vol 34 (1) ◽  
pp. 74-90
Author(s):  
So-Rim Lee
Keyword(s):  
Performance Studies ◽  
Cultural Appropriation ◽  
Ancient Text ◽  
Doctoral Candidate ◽  
Peter Brook ◽  
Epistemic Violence ◽  
Gayatri Spivak ◽  
And Performance ◽  
Ethical Stance ◽  
Performance Research

In this article So-Rim Lee closely investigates the Mahābhārata in relation to – but quite distinct from – The Mahabharata: a Play (1985) by Peter Brook and Jean-Claude Carrière. Since the ancient text of the Mahābhārata does not have a definitive author, version, or form, So-Rim Lee argues that Brook and Carrière's framing of their modern reading as an adaptation of the ancient text poses a series of questions regarding the politics of recontextualizing a South Asian text in Western terms, the methodological process involved in doing this, and the ethical stance espoused by the transcultural adapters. She then questions whether the audience actually finds Brook and Carrière's international, multi - racial production as cosmopolitan and multicultural as the authors claim it to be. If The Mahabharata: a Play is a matter of cultural appropriation rather than adaptation, what transgressions are involved in reframing the source text and how does it produce what Gayatri Spivak calls ‘epistemic violence’? Lee is a doctoral candidate in the Department of Theater and Performance Studies at Stanford University. She has previously reviewed for Theatre Survey and Performance Research.

Antecedents of international performance

2002 ◽  
Vol 36 (9/10) ◽  
pp. 1103-1118 ◽  
Author(s):  
Muris Cicic ◽  
Paul Patterson ◽  
Aviv Shoham
Keyword(s):  
Market Orientation ◽  
Human Resource ◽  
Performance Studies ◽  
North American ◽  
Service Sector ◽  
International Performance ◽  
Orientation Model ◽  
Performance Domains ◽  
And Performance ◽  
Performance Research

Madsen synthesized international performance studies and identified 20 performance antecedents. Of these, 12 are unrelated to international performance or have conflicting relationships across the reviewed studies. We use his recommendations to increase the value of international performance research. First, we include seven antecedents that cover the organizational, environmental, strategic, and performance domains of his model, including components of the market orientation model. Second, earlier studies involved mostly North American and European goods exporters. This study extends previous research to the service sector in Australia. Based on responses from 181 exporters, the importance of managerial attitudes, perceived international barriers, and human resource efforts is shown to affect international performance.

Others, Spectatorship, and the Ethics of Verbatim Performance

2013 ◽  
Vol 29 (2) ◽  
pp. 146-158 ◽  
Author(s):  
Patrick Duggan
Keyword(s):  
Performance Studies ◽  
The United States ◽  
Small Scale ◽  
Ethical Implications ◽  
Live Music ◽  
Performance Texts ◽  
And Performance ◽  
The Uk ◽  
The University ◽  
Performance Research

In this article Patrick Duggan interrogates The Paper Birds' 2010 production Others to explore the political and ethical implications of embodying the (verbatim) texts of others. Built from a six-month exchange of letters between the company and a prisoner, a celebrity (a very non-committal Heather Mills, apparently), and an Iranian artist, Others fuses live music with verbatim and physical theatre texts to investigate the ‘otherness’ of women from vastly divergent cultural contexts. With equal measures of humour and honesty the performance deconstructs these voices both to highlight their particular concerns and problems and to interrogate larger issues relating to ‘others’ with whom we have conscious or unconscious contact. The ethical implications of continuing or discontinuing the correspondences with the three women are explored, and trauma and embodiment theories are used alongside Lévinasian and Russellian theories of ethics to ask what an encounter with such others might teach us about ourselves, about the traumatized other and about the ethics of encounter within performance texts. Patrick Duggan is Lecturer in Theatre and Performance Studies at the University of Exeter. A practising director, he has also taught extensively in the UK and Ireland as well as in Germany and the United States. He is author of Trauma-Tragedy: Symptoms of Contemporary Performance (Manchester University Press, 2012) and co-edited Reverberations: Britishness, Aesthetics and Small-Scale Theatres (Intellect, 2013) and a special issue of the journal Performance Research ‘On Trauma’ (Taylor and Francis, 2011).

scholarly journals Tackle injury epidemiology and performance in rugby league – narrative synthesis

2021 ◽  
Vol 33 (1) ◽  
pp. 1-8
Author(s):  
Sharief Hendricks ◽  
Ben Jones ◽  
Nicholas Burger
Keyword(s):  
Performance Studies ◽  
Rugby League ◽  
Narrative Synthesis ◽  
Time Loss ◽  
English Only ◽  
Injury Epidemiology ◽  
Team Success ◽  
And Performance ◽  
Player Performance ◽  
Performance Research

Background: In rugby league (RL), the ability to repeatedly engage in the tackle, whether as a ball carrier or tackler, is essential for team success and player performance. It is also the leading cause of injury, with over 90% of total injuries occurring during the tackle in professional and amateur cohorts. To effectively reduce the risk of injury and optimise performance, establishing the extent of the ‘problem’, through injury surveillance or descriptive performance studies is required. Objective: The purpose of this narrative synthesis was to systematically search and synthesise tackle injury epidemiology and tackle performance frequency in RL. To achieve this objective, a systematic review was conducted. Methods: The search was limited to English-only articles published between January 1995 and October 2018. Based on the search criteria, a total of 53 studies were found: 32 focused on tackle injury epidemiology (nine cases studies) and 21 focused on tackle frequency. Results: In general, over 600 tackles may occur during an RL match. Tackle injury frequencies (both overall and time-loss injuries) ranged between 47%-94% at the professional level, and between 38%-96% for the lower levels of play. A greater proportion of injuries occurring in professional RL are severe time-loss injuries when compared to lower levels of play. Most time-loss and overall injuries occur to players who are tackled, i.e., ball carriers, across all levels of play. Conclusion: This narrative synthesis will facilitate tackle injury prevention and performance research in RL, and act as a reference document for coaches and practitioners.  

Human Morphometrics, Motion, and Performance Research.

1994 ◽  
Author(s):  
Bruce Bradtmiller ◽  
Sherri Upchurch-Blackwell ◽  
Henry W. Case ◽  
Thomas D. Churchhill ◽  
Daniel N. Mountjoy
Keyword(s):  
And Performance ◽  
Performance Research

Cultural Labour

2019 ◽  
Author(s):  
Brahma Prakash
Keyword(s):  
Conceptual Framework ◽  
Performance Studies ◽  
Life Experience ◽  
Social Hierarchies ◽  
Folk Performance ◽  
And Performance ◽  
The Relationship

Folk performances reflect the life-worlds of a vast section of subaltern communities in India. What is the philosophy that drives these performances, the vision that enables as well as enslaves these communities to present what they feel, think, imagine, and want to see? Can such performances challenge social hierarchies and ensure justice in a caste-ridden society? In Cultural Labour, the author studies bhuiyan puja (land worship), bidesia (theatre of migrant labourers), Reshma-Chuharmal (Dalit ballads), dugola (singing duels) from Bihar, and the songs and performances of Gaddar, who was associated with Jana Natya Mandali, Telangana: he examines various ways in which meanings and behaviour are engendered in communities through rituals, theatre, and enactments. Focusing on various motifs of landscape, materiality, and performance, the author looks at the relationship between culture and labour in its immediate contexts. Based on an extensive ethnography and the author’s own life experience as a member of such a community, the book offers a new conceptual framework to understand the politics and aesthetics of folk performance in the light of contemporary theories of theatre and performance studies.

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