While political scientists and political theorists have long been interested in social and political performance, and theatre and performance researchers have often focused on the political dimensions of the live arts, the interdisciplinary nature of this labor has typically been assumed rather than rigorously explored. This volume brings together leading scholars in the fields of Politics and Performance--drawing on experts across the fields of literature, law,anthropology, sociology, psychology, and media and communiction, as well as politics and theatre and performance--to map out and deepen the evolving interdisciplinary engagement. Organized into seven thematic sections, the volume investigates the relationship between politics and performance to show thatcertain features of political transactions shared by performances are fundamental to both disciplines--and that to a large extent they also share a common communicational base and language.

Considering both making political performance and making performance politically, this collection explores engagements of political resistance, public practice and performance media, on various scales of production within structures of neoliberal and liberal government and power.

Addresses fundamental questions about the social and political purposes of performance through an investigation of post-war alternative and community theatre. A detailed analysis of oppositional theatre as radical cultural practice.

This volume brings together important work at the intersection of politics and performance studies. While the languages of theatre and performance have long been deployed by other disciplines, these are seldom deployed seriously and pursued systematically to discover the actual nature of the relationship between performance as a set of behavioural practices and the forms and the transactions of these other disciplines. This book investigates the structural similarities and features of politics and performance, which are referred to here as ‘grammar’, a concept which also emphasizes the common communicational base or language of these fields. In each of the chapters included in this collection, key processes of both politics and performance are identified and analyzed, demonstrating the critical and indivisible links between the fields. The book also underlines that neither politics nor performance can take place without actors who perform and spectators who receive, evaluate and react to these actions. At the heart of the project is the ambition to bring about a paradigm change, such that politics cannot be analyzed seriously without a sophisticated understanding of its performance. All the chapters here display a concrete set of events, practices, and contexts within which politics and performance are inseparable elements. This work will be of great interest to students and scholars in both International Relations and Performance Studies.

Performance and Cultural Politics is a groundbreaking collection of essays which explore the historical and cultural territories of performance, written by the foremost scholars in the field. The essays, exploring performance art, theatre, music and dance, range from Oscar Wilde to Eric Clapton; from the Rose Theatre to U.S. Holocaust museums. The topic includes: * Sex Play: Stereotype, Pose and Dildo * Grave Performances: The Cultural Politics of Memory * Genealogies: Critical Performances * Identity Politics: Passing, Carnival and the Law In the concluding section, `Performer's Performance', performance artist Robbie McCauley offers the practitioner's perspective on performance studies. Interdisciplinary, thought-provoking and rich in new ideas, Performance and Cultural Politics is a landmark in the emerging field of performance studies.

Drawing on the hermeneutical reflections of John Howard Yoder, Stanley Hauerwas, and Mikhail Bakhtin, Cartwright challenges the way twentieth-century American Protestants have engaged the Òproblem of the use of scripture in Christian ethics, and issues a summons for a new debate oriented by a communal approach to hermeneutics. By analyzing particular ecclesial practices that stand within living traditions of Christianity, the Òpolitics of scriptural interpretation can be identified along with the criteria for what a Ògood performance of scripture should be. This approach to the use of scripture in Christian ethics is displayed in historical discussions of two Christian practices through which scripture is read ecclesiologically: the Eastern Orthodox liturgical celebration of the Eucharist and the Anabaptist practice of Òbinding and loosing or Òthe rule of Christ. When American Protestants consider Òperformances of scripture such as these alongside one another within more ecumenical contexts, they begin to confront the ecclesiological problem with their attempts to Òuse the Bible in Christian ethics: the relative absence of constitutive ecclesial practices in American Protestant congregations that can provide moral orientation for their interpretations of Christian scripture.

This book investigates the expanding parameters for site-specific performance to account for the form's increasing popularity in the twenty-first century. Leading practitioners and theorists interrogate issues of performance and site to broaden our understanding of the role that place plays in performance and the ways that performance influences it