Judith Butler writes, “gender is a stylized repetition of acts .. which are internally discontinuous … so that the appearance of substance is precisely that — a constructed identity, a performative accomplishment which the mundane social audience, including the actors… Continue Reading →
Read a blog. Write to your fellow classmate and reflect what you found interesting and generative about that blog. You don’t have to read or write like an instructor. Instead, be a generous classmate and try to witness what the… Continue Reading →
https://doc-10-a8-docs.googleusercontent.com/docs/securesc/rrpvde65192314iavp735m1f4ml9mqsa/hdcodqo35t5aufuat570bi0t3sqjnonb/1554156000000/00212935996384720101/00212935996384720101/1sJy0Ob5oH8O1CTWIUUC8JKtg2PLQpoY7?h=06799207954161304006&e=download The short scene I choose is from Anton Chekhov’s Uncle Vanya, in Act II, before Professor Serebryakov and Yelena Andreevna meet. This actions in my performance piece are not denoted in the script. I, as Serebryakov, wake up in the… Continue Reading →
In “A Problem Like Maria,” Stacy Wolf writes: “Identification is but one mode of engagement with representation. In addition to wanting to be or wanting to have a character, a spectator might simply admire a character; sympathize with her; find… Continue Reading →
Where would you mount a production of Waiting for Godot right now? How would you stage it? Why?
In “Enactments of Power,” N’gugi Wa Thiong’o writes: “The state has its arenas of performance; so has the artist. While the state performs power, the power of the artist is solely in performance. Both the state and the artist may… Continue Reading →