Performance A Critical Introduction

Performance
Performance: a critical introduction was the first textbook to provide an

overview of the modern concept of performance and its development in
various related fields. This comprehensively revised, illustrated edition dis-
cusses recent performance work and takes into consideration changes that
have taken place in the study of performance since the book's original pub-
lication in 1996. Marvin Carlson guides the reader through the contested
definition of performance as a theatrical activity and the myriad ways in
which performance has been interpreted by ethnographers, anthropolo-
gists, linguists, and cultural theorists. Topics covered include:
• the evolution of performance art since the 1960s

• the relationship between performance, postmodernism, the politics of
identity, and current cultural studies
• the recent theoretical developments in the study of performance in the
fields of anthropology, psychoanalysis, linguistics, and technology.
With a fully updated bibliography and additional glossary of terms, stu-

dents of performance studies, visual and performing arts or theatre history
will welcome this new version of a classic text.
Marvin Carlson is the Sidney E. Cohn Professor of Theatre and Compara-

tive Literature at the Graduate Center of the City University of New York.
He has received the ATHE Career Achievement Award, the George Jean
Nathan Award for Dramatic Criticism, the Calloway Prize and the ASTR
Distinguished Scholarship Award. He has published widely in theatre
history and theory, performance studies, and dramatic literature.
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Performance
A critical introduction
Marvin Carlson
Second Edition
~l Routledge
~~ Taylor & Francis Group
LONDON AND NEW YORK

First published 1996
by Routledge
Published 2013 by Routledge

2 Park Square, Milton Park, Abingdon, Oxon OX 14 4RN
Simultaneously published in the UK, USA and Canada

by Routledge
711 Third Avenue, New York, NY, 10017, USA
Rout/edge is an imprint of the Tay/or & Francis Group, an informa business
© 1996, 2004 Marvin Carlson

Typeset in Palatino by Wearset Ltd, Boldon, Tyne and Wear,
England
All rights reserved, No part of th is book may be rep r inted or

r eproduced or utilized in any form or by any electronic ,
mechanical, or other means, now known or hereafter invented.
including photocopying and recording, or in any information
storage or retrieval system, without permission in writing from
the publishers.
Library of Congress Cataloging in Publication Data
Carlson, Marvin A., 1935-
Performance : a critical introduction I Marvin Albert Carlson.-
2nd ed,
p, em,
Includes bibliogr aphical references and index,
I. Performance art-United States, 2, Arts. American-20th
century. 3. Perfo r mance art. 4, Arts. Modern- 20th century,
I. Title,
NX504,C35 2003
700 ' ,973 ' 0904S-dc21 2003007508
British Library Cataloguing in Publication Data
A catalogue record for this book is available from the British
Library
ISBN 13: 978-0-415-29926-8 (hbk)

ISBN 13: 978-0-415-29927-5 (pbk)
Contents
List of illustrations viii

Preface ix
Acknowledgments xi
Introduction: what is performance? 1
The aims of this book 2

The display of skills 2
Patterned behavior 3
Keeping up the standard 4
Theatre and performance art 5
The plan of this book 6
PART I
Performance and the social sciences 9
The performance of culture: anthropological and

ethnographic approaches 11
Performance and anthropology 12

Theories of cultural performance 13
Liminality and play 18
Performing anthropology 24
2 Performance in society: sociological and psychological

approaches 31
Social performance 32
Framing 35
Performance and agency 37
Perspectives on social performance 38
Moreno and psychodrama 41
Eric Berne and Talcott Parsons 43
vi Contents
Social constructionism 44
Erving Coffman and keying 45
Richard Schechner and restored behavior 46
Binocular vision and the actual 48
Performance and psychoanalysis 50
3 The performance of language: linguistic approaches 56

Semiotics 56
The poststructuralist challenge 57
The linguistic tradition 58
Speech act theory 61
The literary speech act 65
Speech act theory and semiotics 71
Text and performance 74
Performativity and citation 75
Performance and the social sciences: a look backward 79
PART II
The art of performance 81
4 Performance in its historical context 83

Performance's new orientation 83
Folk and popular performance 87
Experimental performance 95
Modern mime and dance 101
Non-dramatic events 104
5 Performance art 110
The beginnings of performance art 110

Spectacle performance 117
Solo work 123
The turn to language 128
Live art, liveliness, and the media 132
Looking ahead 134
Contents vii
PART III
Performance and contemporary theory 135
6 Performance and the postmodem 137

Theorists of the modern and postmodern 137
Postmodern dance 142
Strategies of postmodernism 145
Postmodernism, poststructuralism, and theatricality 148
Performance as experience 151
After postmodernism 155
7 Performance and identity 157

Early feminist performance 157
Autobiographical performance 162
Male performance 164
Controversies of the 1990s 168
Performance and ethnicity 173
8 Cultural performance 179

Guerrilla and street performance 180
Social concerns in early feminist performance 182
The search for subjectivity 184
Resistant performance 188
Recent political performance 194
Post-colonial perspectives 198
Intercultural performance in a global context 204
Conclusion: what is performance? 205
Drawing to a close 205

Some overviews 208
The spread of performance study 211
Coda: an apologia for theatre 213
Glossary 217
Notes 224
Bibliography 247
Name index 266
Subject index 272
III ustrations
1.1 Richard Schechner's diagram of the flows between "social

drama" and "aesthetic drama" 18
1.2 Odin Teatret's production of Talabot, 1988 28
2.1 A psychodrama scene on Moreno's therapeutic stage,
New York, 1942 31
2.2 A guest and an "inhabitant" at Plimoth Plantation 48
3.1 Performative speech and action. Bette Davis christening a
World War II battleship, 1943 62
3.2 A cross burning with Ku Klux Klan members. Stone
Mountain, Georgia, 1971 78
4.1 Medieval performer depicted in a late thirteenth-century Bible 87
4.2 The "celebrated performer on the rope" Madame Saqui,
London, 1820 89
4.3 The Forepaugh Circus (1880s), showing the variety of
performance acts offered 90
4.4 Tony Pastor 94
4.5 Isadora Duncan in Athens, 1903 96
4.6 Car Wash, a happening created at Cornell University by
Allan Kaprow, May, 1964. Participants are licking
strawberry jam off Volkswagens 106
5.1 Chris Burden in his performance piece Trans-fixed, Venice,
California, April 1974 113
5.2 Reza Abdoh's Quotations from a Ruined City, New York, 1994 118
5.3 Forster and Heighes' Preliminary Hearing, London, 1997 119
5.4 Eleanora Antin's "King of Solana Beach" chatting with his
subjects, 1975 125
6.1 Trisha Brown and members of her company in Line Up, 1977 140
6.2 Richard Foreman's Bad Boy Nietzsche, 2000 142
7.1 Tim Miller in Postwar, 1982 169
7.2 Ron Athey in Four Scenes from a Harsh Life, 1993 172
7.3 Dan Kwong in Monkhood in 3 Easy Lessons, 1995 176
8.1 The Guerrilla Girls in a demonstration 181
8.2 Peggy Shaw and Lois Weaver in Killing Time, 1991 192
8.3 Rachel Rosenthal in Traps 197
8.4 Coco Fusco and Guillermo Gomez-Pefia in Two Undiscovered
Amerindians 201
Preface
When the first edition of this work was published seven years ago,
performance had already emerged not only as a particular new orientation
within the world of theatrical presentation, but also as a significant critical
metaphor within contemporary culture at large. During the intervening
years significant changes have taken place in both the microcosm of
performance art and the macrocosm of social and cultural performance in
general. The fairly clear division between traditional theatre and perform-
ance art that once existed has today largely disappeared, as techniques and
concerns once primarily associated with one or the other have been
developed and exchanged between them, in the inevitable continuing
exploration of new means that has always characterized performative activ-
ity. A growing interest in and utilization of technology and modern media
in both theatre and performance art has further blurred the boundaries
between these performative activities.
On the larger cultural level, "performance" has continued to develop as a
central metaphor and critical tool for a bewildering variety of studies, cover-
ing almost every aspect of human activity. Performance discourse and its
close theoretical partner, "performativity," today dominate critical discourse
not only in all manner of cultural studies, but also in business, economics,
and technology. The rise of an interest in performance reflects a major shift in
many cultural fields from the what of culture to the how, from the accumula-
tion of social, cultural, psychological, political, or linguistic data to a
consideration of how this material is created, valorized, and changed, to how
it lives and operates within the culture, by its actions. Its real meaning is now
sought in its praxis, its performance. Moreover, the fact that performance is
associated not just with doing but also with re-doing is important-its
embodiment of the tension between a given form or content from the past
and the inevitable adjustments of an ever-changing present make it an opera-
tion of particular interest at a time of widespread interest in cultural negoti-
ations-how human patterns of activity are reinforced or changed within a
culture and how they are adjusted when various different cultures interact.
Performance implies not just doing or even re-doing, but a self-consciousness
about doing and re-doing on the part of both performers and spectators, an
implication of great interest to our highly self-conscious society.
x Preface
The present book seeks, as did its earlier version, to place these develop-
ments in a general artistic and cultural context, to suggest their historical
development and their present and future implications. The rapid expan-
sion of performance discourse, especially in the area of culture studies, has
required an extensive reworking of sections of this book in order to provide
as comprehensive and as clear a discussion as possible of the current state
of performance studies.
Acknowledgments
The colleagues, friends, and artists who have provided information, sug-
gestions, and inspiration for this book are far too numerous to list here, but
my gratitude to them is nevertheless beyond measure. I must, however,
single out for special thanks Jill Dolan, Joseph Roach, and Richard Schech-
ner, whose own work in this field as well as whose friendship and sugges-
tions have been a constant source of inspiration and pleasure. Particular
thanks must also go to my editor at Routledge, Talia Rodgers, who encour-
aged me to undertake this complex project in the first place and who has
been absolutely unflagging in her support and encouragement. Her support
not only of this project, but also of the entire field of performance studies,
will be suggested by the many titles from Routledge that I have drawn
upon both in the first and second editions of this work. Finally, my warmest
thanks to Joshua Abrams, whose aid in the preparation of this second
edition was invaluable.
Introduction
What is performance?
The term "performance" has become extremely popular in recent years in a

wide range of activities in the arts, in literature, and in the social sciences.
As its popularity and usage have grown so has a complex body of writing
about performance, attempting to analyze and understand just what sort of
human activity it is. For the person with an interest in studying perform-
ance, this body of analysis and commentary may at first seem more of an
obstacle than an aid. So much has been written by experts in such a wide
range of disciplines, and such a complex web of specialized critical vocabu-
lary has been developed in the course of this analysis, that a newcomer
seeking a way into the discussion may feel confused and overwhelmed.
In their very useful 1990 survey article "Research in Interpretation and
Performance Studies: Trends, Issues, Priorities," Mary Strine, Beverly Long
and Mary Hopkins begin with the extremely useful observation that
performance is "an essentially contested concept." This phrase is taken from
W.B. Gallie's Philosophy and the Historical Understanding (1964), in which
Gallie suggested that certain concepts, such as art and democracy, had dis-
agreement about their essence built into the concept itself. In Gallie's terms:
"Recognition of a given concept as essentially contested implies recognition
of rival uses of it (such as oneself repudiates) as not only logically possible
and humanly 'likely,' but as of permanent potential critical value to one's
own use or interpretation of the concept in question."l Strine, Long, and
Hopkins argue that performance has become just such a concept, developed
in an atmosphere of "sophisticated disagreement" by participants who "do
not expect to defeat or silence opposing positions, but rather through
continuing dialogue to attain a sharper articulation of all positions and
therefore a fuller understanding of the conceptual richness of performance."z
In his study of the "post-structured stage," Erik MacDonald suggests that
"performance art has opened hitherto unnoticed spaces" within theatre's
representational networks. It "problematizes its own categorization," and
thus inevitably inserts theoretical speculation into the theatrical dynamid
2 What is performance?
The aims of this book

The present study, recognizing this essential contestedness of performance,
will seek to provide an introduction to the continuing dialogue through
which it has recently been articulated, providing a variety of mappings of
the concept, some overlapping, others quite divergent. Recent manifesta-
tions of performance, in both theory and practice, are so many and so
varied that a complete survey of them is hardly possible, but this book will
attempt to offer enough of an overview and historical background to
suggest the major approaches and sample significant manifestations in this
complex field, to suggest what sort of issues are raised by the contested
concept of performance and what sorts of theatrical and theoretical strat-
egies have been developed to deal with these issues.
My own background is in theatre studies, and my emphasis will be on
how ideas about performance and theories about performance have broad-
ened and enriched those areas of human activity that lie closest to what has
traditionally been thought of as theatrical, even though I will not be devot-
ing a great deal of attention to traditional theatre as such, but rather to that
variety of activities currently being presented for audiences under the
general title of "performance" or "performance art." Nevertheless in these
opening remarks it might be useful to step back at least briefly from this
emphasis and consider the more general use of the term "performance" in
our culture, to gain some idea of the general semantic overtones it may bear
as it circulates through an enormous variety of specialized usages. I should
perhaps also note that although I will include examples of performance art
from other nations my emphasis will remain on the United States, partly of
course because that is the center of my own experience with this activity,
but more relevantly because, despite its international diffusion, perform-
ance art is both historically and theoretically a primarily American phe-
nomenon, and a proper understanding of it must, I believe, be centered on
how it has developed both practically and conceptually in the United
States.
The display of skills

"Performing" and "performance" are terms so often encountered in such
varied contexts that little if any common semantic ground seems to exist
among them. Both the New York Times and the Village Voice now include a
special category of "performance," separate from theatre, dance, or films,
including events that are also often called "performance art" or even
"performance theatre." For many this latter term seems tautological, since
in simpler days all theatre was considered to be involved with perform-
ance, theatre being in fact one of the so-called "performing arts." This usage
is still much with us, as indeed is the practice of calling any specific theatre
events (or for that matter specific dance or musical events) "performances."
If we mentally step back a moment from this common practice to ask what
What is performance? 3
makes performing arts performative, I imagine the answer would somehow

suggest that these arts require the physical presence of trained or skilled
human beings whose demonstration of their skill is the performance.
I recently came across a striking illustration of how important the idea of
the public display of technical skill is to this traditional concept of
"performance." At a number of locations in the United States and abroad,
people in period costume act out improvised or scripted events in historical
buildings or villages for tourists, visiting schoolchildren, or other interested
spectators-a kind of activity often called "living history." One site of such
activity is Fort Ross in Northern California, where a husband and wife,
dressed in costumes of the 1830s, greet visitors in the role of the last
Russian commander of the fort and his wife. The wife, Diane Spencer
Pritchard, in her role of "Elena Rotcheva," decided at one time to play
period music on the piano to give visitors an impression of the cultural life
of the period, but later she abandoned this, feeling (in her words) that it
"removed the role from living-history and placed it in the category of
performance."4 Despite taking on a fictive personality, dressing in period
clothes, and "living" in the 1830s, Ms Pritchard did not consider herself to
be "performing" until she displayed the particular artistic skills needed to
give a musical recital. Normally human agency is necessary for "perform-
ance" of this sort (even in the theatre we do not speak of how well the
scenery or the costumes performed), but the public demonstration of
particular skills is the important thing. These skills need not be human, as
can be seen in such familiar expressions as performing dogs, elephants,
horses, or bears.5
Patterned behavior
Despite the currency of this usage, most of her audience probably considers
Ms Pritchard to be performing as soon as she greets them in the costume
and character of a long-dead Russian pioneer. The pretending to be
someone other than oneself is a common example of a particular kind of
human behavior to which Richard Schechner has given the title "restored
behavior," under which title he groups any behavior consciously separated
from the person doing it-theatre and other role-playing, trances, shaman-
ism, rituals. 6 Schechner's useful concept of "restored behavior" points to a
quality of performance not involved with the display of skills but rather
with a certain distance between "self" and behavior, analogous to that
between an actor and the role this actor plays on stage. Even if an action on
stage is identical to one in real life, on stage it is considered "performed"
and off stage merely "done." In his well-known response to the Queen,
Hamlet distinguishes between those inner feelings that resist performance
and the "actions that a man might play" with a consciousness of their signi-
fying potential. Although the common usage of the term "performance" in
the theatre (Olivier's performance of Hamlet, or the performance of a play
on some particular evening) might at first glance seem to be derived from
the association with technical skill, I think in fact it is based more upon this
doubled, repeated, or restored quality of the action. David Roman, dis-
cussing the shades of meaning in a number of "keywords" in the theatre,
makes a useful distinction between "performance" and production: "A
performance stands in and of itself as an event; it is part of the process of
production. A performance is not an entity that exists atemporally for the
spectator; rather, the spectator intersects in a trajectory of continuous pro-
duction. A production is generally composed of a series of performances."7
Although, as Roman notes, these performance are never the same, they are
nevertheless consciously repeated copies, and even their deviations are part
of the dynamic of "restored behavior."
Hamlet's response also indicates how a consciousness of "performance"
can move from the stage, from ritual, or from other special and clearly
defined cultural situations, into everyday life. Everyone at some time or
another is conscious of "playing a role" socially, and recent sociological
theory, which will be discussed in some detail in the second chapter of this
book, has paid a good deal of attention to this sort of social performance.
The recognition that our lives are structured according to repeated and
socially sanctioned modes of behavior raises the possibility that all human
activity could potentially be considered as performance, or at least all activ-
ity carried out with a consciousness of itself. The difference between doing
and performing, according to this way of thinking, would seem to lie not in
the frame of theatre versus real life but in an attitude-we may do actions
unthinkingly, but when we think about them, this brings in a consciousness
that gives them the quality of performance. This phenomenon has been
perhaps most searchingly analyzed in various writings of Herbert Blau, to
which also we will return later.
Keeping up the standard

So we have two rather different concepts of performance; one involving the
display of skills, the other also involving display, but less of particular skills
than of a recognized and culturally coded pattern of behavior. A third
cluster of usages takes us in rather a different direction. When we speak of
someone's sexual performance or linguistic performance, or when we ask
how well a child is performing in school, the emphasis is not so much on
display of skill (although that may be involved) or on the carrying out of a
particular pattern of behavior, but rather on the general success of the activ-
ity in light of some standard of achievement which may not itself be pre-
cisely articulated. Perhaps even more significantly, the task of judging the
success of the performance (or even judging whether it is a performance) is
in these cases not the responsibility of the performer but of the observer.
Ultimately Hamlet himself is the best judge of whether he is "performing"
his melancholy actions or truly "living" them, but linguistic, scholastic,
even sexual performance is really framed and judged by its observers. This
is why performance in this sense (as opposed to performance in the normal
theatrical sense) can be and is applied frequently to non-human activity-

TV ads speak interminably of the performance of various brands of auto-
mobiles, scientists of the performance of chemicals or metals under certain
conditions. I observed an amusing conflation of the theatrical and mechani-
cal uses of this term in an advertisement on the New York subway in
October of 1994, when the subway was celebrating ninety years of service.
This was billed as "New York City's longest running performance."
Viewing performance as an essentially contested concept warns us
against seeking some over-arching semantic field to cover such seemingly
disparate usages as the performance of an actor, of a schoolchild, of an
automobile. Nevertheless, I would like to credit one highly suggestive
attempt at such an articulation. This occurs in the entry on performance by
the ethnolinguist Richard Bauman in the International Encyclopedia of Com-
munications. According to Bauman, all performance involves a conscious-
ness of doubleness, according to which the actual execution of an action is
placed in mental comparison with a potential, an ideal, or a remembered
original model of that action. Normally this comparison is made by an
observer of the action-the theatre public, the school's teacher, the scientist
-but the double consciousness, not the external observation, is what is
most central. An athlete, for example, may be aware of his own perform-
ance, placing it against a mental standard. Performance is always perform-
ance for someone, some audience that recognizes and validates it as
performance even when, as is occasionally the case, that audience is the self.
When we consider the various kinds of activity that are referred to on the
modern cultural scene as performance or performance art, these are much
better understood in relation to this over-arching semantic field than to the
more traditional orientation suggested by the piano-playing Ms Pritchard,
who felt that so long as she was not displaying a virtuosic skill she could
not be "performing." Some modern "performance" is centrally concerned
with such skills (as in the acts of some of the clowns and jugglers included
among the so-called "new vaudevillians"), but much more central to this
phenomenon is the sense of an action carried out for someone, an action
involved in the peculiar doubling that comes with consciousness and with
the elusive other that performance is not but which it constantly struggles
in vain to embody.
Theatre and performance art

Although traditional theatre has regarded this "other" as a character in a
dramatic action, embodied (through performance) by an actor, modern
performance art has, in general, not been centrally concerned with this
dynamic. Its practitioners, almost by definition, do not base their work
upon characters previously created by other artists, but upon their own
bodies, their own autobiographies, their own specific experiences in a
culture or in the world, made performative by their consciousness of them
and the process of displaying them for audiences. Since the emphasis is
upon the performance, and on how the body or self is articulated through
performance, the individual body remains at the center of such presenta-
tions. Typical performance art is solo art, and the typical performance artist
uses little of the elaborate scenic surroundings of the traditional stage, but
at most a few props, a bit of furniture, and whatever costume (sometimes
even nudity) is most suitable to the performance situation.
It is not surprising that such performance has become a highly visible,
one might almost say emblematic, art form in the contemporary world-a
world that is highly self-conscious, reflexive, obsessed with simulations and
theatricalizations in every aspect of its social awareness. With performance
as a kind of critical wedge, the metaphor of theatricality has moved out of
the arts into almost every aspect of modern attempts to understand our
condition and activities, into every branch of the human sciences-soci-
ology, anthropology, ethnography, psychology, linguistics. And as perfor-
mativity and theatricality have been developed in these fields, both as
metaphors and as analytic tools, theorists and practitioners of performance
art have in turn become aware of these developments and found in them
new sources of stimulation, inspiration, and insight for their own creative
work and the theoretical understanding of it.
Performance art, a complex and constantly shifting field in its own right,
becomes much more so when one tries to take into account, as any thought-
ful consideration of it must do, the dense web of interconnections that exist
between it and ideas of performance developed in other fields and between
it and the many intellectual, cultural, and social currents that condition any
performance project today. These include what it means to be postmodern,
the quest for a contemporary subjectivity and identity, the relation of art to
structures of power, the varying challenges of gender, race, and ethnicity, to
name only some of the most visible.
The plan of this book

This book attempts, in an admittedly brief way, to provide an introduction
to this complex field of activity and thought. The three opening chapters
seek to provide a general intellectual background and context for the
modern idea of performance by tracing the interrelated development of this
concept in the various modern human sciences-first in anthropology and
ethnography, then in sociology and psychology, and finally in linguistics.
As performance studies has developed as a particular field of scholarly
work, especially in the United States, it has been very closely associated
with the various social sciences, and a complex and interesting cross-
fertilization has been the result. The study of traditional"artistic" perform-
ance such as theatre and dance has taken on new dimensions and begun to
explore newly observed relationships between these and other cultural and
social activities, while the various social sciences have found theatre and
performance metaphors of great use in exploring particular kinds of human
activities within their own fields of study. While the actual practice of
modern performance art is most closely related to concerns in sociology

and psychology, its theory and certain of its strategies relate importantly to
anthropological and ethnographic interests. Linguistic theories of perform-
ance have to date proven of greater interest to theorists of traditional
theatre than to those of performance art, but the implications of, for
example, Derrida's critique of Searle offer intriguing possibilities for the
analysis of performance art as well-especially, of course, in those
examples of performance involved with linguistic strategies.
The middle section of this study consists of two chapters devoted to the
background and recent history of what has come to be called performance
art (or sometimes simply performance), with special emphasis upon its
development in the contemporary United States. The first of these chapters
looks backward to suggest some of the historical antecedents of this major
contemporary cultural expression, and the second traces the historical
development of modern performance from its appearance at the end of the
1960s to the most recent manifestations. While these two chapters contain
some theoretical material they are primarily historical and descriptive,
attempting to give some idea of just what sort of work has been associated
with the idea of performance in the United States and elsewhere, and how
it is related to and differs from more traditional theatrical forms.
An impressive body of theoretical writing has grown up around
performance art, and the third section of the book examines, in different
chapters, three of the major orientations of such writing. The first of these
theoretical chapters deals with the relationships between performance and
postmodernism, terms often rather casually linked in critical discourse, but
in fact related to each other in very complex and occasionally quite contra-
dictory ways. Postmodern dance, a particularly illuminating area for the
study of the relationship of performance and postmodernism, is given
particular attention in this chapter. The next chapter explores the relation-
ship between performance and identity, a relationship that is in many ways
central to how modern performance has developed and been theorized,
particularly in the United States. These two chapters have certain dialectic
implications, since the frequent associations of the postmodern with a loss
of origins, a free play of signification, and an instability of truth claims
seems to suggest that to the extent that performance is a significantly post-
modern form it is very ill-suited to the grounding of subjectivity or identity,
either for purposes of defining or exploring the self or for providing a posi-
tion for political or social commentary or action. The final chapter explores
this seeming contradiction in a more detailed manner, looking at the theory
and practice of performance that seeks within the general assumptions of a
postmodern orientation to find strategies of meaningful social, political,
and cultural positioning-arguably the most critical challenge confronting
performance today, and certainly the site where the most lively and inter-
esting discussion of performance is now taking place.
References
Table of Contents
Name index Subject index 135 137 157 179 205 217
224 247 266 272
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Performance A Critical Introduction

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Performance

Performance: a critical introduction was the first textbook to provide an

• the evolution of performance art since the 1960s

With a fully updated bibliography and additional glossary of terms, stu-

Marvin Carlson is the Sidney E. Cohn Professor of Theatre and Compara-

LONDON AND NEW YORK

Published 2013 by Routledge

Simultaneously published in the UK, USA and Canada

Rout/edge is an imprint of the Tay/or & Francis Group, an informa business

© 1996, 2004 Marvin Carlson

All rights reserved, No part of th is book may be rep r inted or

ISBN 13: 978-0-415-29926-8 (hbk)

List of illustrations viii

Introduction: what is performance? 1

The aims of this book 2

The performance of culture: anthropological and

Performance and anthropology 12

2 Performance in society: sociological and psychological

3 The performance of language: linguistic approaches 56

4 Performance in its historical context 83

5 Performance art 110

The beginnings of performance art 110

6 Performance and the postmodem 137

7 Performance and identity 157

8 Cultural performance 179

Conclusion: what is performance? 205

Drawing to a close 205

1.1 Richard Schechner's diagram of the flows between "social

The term "performance" has become extremely popular in recent years in a

The aims of this book

The display of skills

makes performing arts performative, I imagine the answer would somehow

Keeping up the standard

theatrical sense) can be and is applied frequently to non-human activity-

Theatre and performance art

The plan of this book

modern performance art is most closely related to concerns in sociology

Abrahams, Roger D. (1968) "Introductory Remarks to a Rhetorical Theory of Folk-

- - (1993) BOttil's that Matter, New York: Routledge.

Ch,n'oya, C. On dine (2001) "Orphans of Modernism: The Performance Art of Asco,"

- - (1993) "CeogrZlphies of Learning: Theatre Studies, Perform,mce, and the 'Per-

Ferris, Lesley (1993) Crossillg tlie Stage, London: Routledge.

Gomez-Peiia, Guillermo (1993) Warrior .ttl}' Gril1gostroika, St Paul, Minn.: Greywolf

- - (1993) Ulllllarkcd, London: Routledge.

- - (1977) Essays on Pczjorllllllicc Thcory 1970-76, New York: Drama Book

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