PERFORMANCE STUDIES FOCUSING ON GENDER AND FEMINISM 1 2 (TVERA2, 15 ECTS)

Transcription

1 Prof. Tiina Rosenberg PERFORMANCE STUDIES FOCUSING ON GENDER AND FEMINISM 1 2 (TVERA2, 15 ECTS) PROGRAM & TIMETABLE Part 1: GETTING A GRIP ON THE BASICS Week 3 1. Lecture: What Is Performance Studies? Tuesday, January 19, 14:00-16:00, Manne Siegbahn A B, Room 119. The Performance Studies Reader, Part 1 Schechner, Richard. Performance Studies: the broad spectrum approach. In The Performance Studies Reader, 7 9. Jackson, Shannon. Professing performances: disciplinary genealogies. In The Performance Studies Reader, Kirschenblatt-Gimblett, Barbara. Performance studies. In The Performance Studies Reader, Dwight Conquerwood. Performance studies: interventions and radical research. In The Performance Studies Reader, Fei, Faye C. and William H. Sun. Social performance studies: discipline vs. freedom. In The Performance Studies Reader, Sturken, Marita and Lisa Cartwright. Practises of Looking. An Introduction to Visual Cultural, New York and Oxford: Oxford University Press, Note Don t forget to collect the tickets to Pussy Riot The Punk Prayer at Dramaten s ticket office (Kungliga Dramatiska Teatern, Nybroplan) before January 22 (the performance February 9) or January 30 (the performance February 19); code: Tiina Rosenberg,

2 2. Lecture: What Is a Performance? Friday, January 22, 13:00 16:00, Manne Sigbahn A B, Room 119. The Performance Studies Reader, Part II Carlson, Marvin What is Performance? In The Performance Studies Reader, Goffman, Erwing. Performances: belief in the part one is playing. The Performance Studies Reader, Geertz, Clifford. Blurred genres: the refiguration of social thought. In The Performance Studies Reader, Phelan, Peggy. Marina Abramovic: witnessing shadows. In The Performance Studies Reader, Roach, Joseph. Performance: the blunders of Orpheus. In The Performance Studies Reader, Carlson, Marvin. Performance: a Critical Introduction (2nd ed.). London: Routledge, Sturken, Marita and Lisa Cartwright. Practises of Looking. An Introduction to Visual Cultural, New York and Oxford: Oxford University Press, Week 4 3. Group sessions: Monday, January 25, 13:00 15:00 Studenthuset, Universitetsvägen 2 B. Meeting point at the entrance. Discussion of readings from previous week: making sense of performance studies and the notion of performance. Preparation of questions for the studentfika on Thursday. 4. Studentfika with Tiina: Thursday, January 28, 13:00 15:00, Studenthuset, Universitetsvägen 2 B. Meeting point at the entrance. Questions and answers to your queries; and further discussion of readings. Starting to think about gender performances you are interested in. Week 5 5. Lecture & video screening: Monday, February 1, 14:00-17:00, Manne Siegbahn A B, Room 119. Performing Gender: The Menopausal Gentleman by Peggy Shaw Video screening: The Menopausal Gentleman (Split Britches Video Collection, hidvl.nyu/video, 50 min.) 2

3 Butler, Judith. Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory. In The Performance Studies Reader, Schneider, Rebecca. Reenactment and relative pain. In The Performance Studies Reader, Shaw, Peggy. The Menopausal Gentleman. The Solo Performances of Peggy Shaw, Ann Arbor: University of Michigan Press, 2011, pp (The Menopausal Gentleman). Butler, Judith. Gender Trouble. Feminism and the Subversion of Identity. New York: Routledge, Case, Sue-Ellen. Feminism and Theatre. New York: Routledge, 1988 (or later). Reckitt, Helena (Ed.) Art and Feminism. Survey by Peggy Phelan. Art and Feminism. (3rd ed.). New York: Phaidon. 6. Lecture: Analyzing Gender, Performance, and Cultural Events, Wednesday, February 3, 14:00-17:00, Manne Siegbahn A B, Room 119. Bell, Catherine. Performance and other analogies. In The Performance Studies Reader, Turner, Victor. Liminality and communitas. In The Performance Studies Reader, Santino, Jack. Performative commemoratives, the personal, and the public: spontaneous shrines, emergent ritual. In The Performance Studies Reader, Week 6 7. Seminar, Tuesday, February 9, 14:00-17:00, Manne Siegbahn A B, Room 119. Exercise: A gender performance of your choice. Preparing written papers through short oral presentations of chosen performances: exchange of ideas and approaches. Choose a performance or an event you feel passionate about. Make an outline and organize your notes. Identify the goal of your paper: is it an argumentative or analytical paper? State the structure and the main points of your argument explicitly and clearly in the outset and finally in a brief summary. Don t forget your references and bibliography. The essay should be approximately 5 6 pages; double-spaced in Times New Roman: :00 Performance: Pussy Riot en punkbön (Pussy Riot A Punk Prayer), Dramaten; Introduction to the performance at 18:30. The play is based on Masha Giessen s Words Will Break Cement: The Passion of 3

4 Pussy Riot, New York: Riverhed Books, 2014). Please, collect the tickets at the Dramaten's ticket office, code: Tiina Rosenberg, before January 22. Week 7 8. Submission of papers, Wednesday, February 17, 15:00, Manne Siegbahn A B; meeting point at the entrance. 9. Performance, Thursday, February 18, 19:00: Pussy Riot en punkbön (Pussy Riot A Punk Prayer), Dramaten (based on Masha Giessen s Words Will Break Cement: The Passion of Pussy Riot, New York: Riverhed Books, 2014). Please, collect the tickets at the Dramaten s ticket office, code: Tiina Rosenberg, before January 30. PART II: TAKING THE NEXT STEP AND STARTING TO LIKE IT 10. Lecture: Feminist Performance Analysis, Friday, February 19, 13:00-16:00, Manne Siegbahn A B, Room 101. Ahmed, Sara. The Cultural Politics of Emotion, 1 19 (Introduction); (Feminist attachments & Just Emotions). Dolan, Jill. The Feminist Spectator in Action. Feminist Criticism for the Stage and Screen, 1 14 (Introduction); (Black Swan) (The Hunger Games); (Homeland). Ranciére, Jacques. Excerpt from The Emancipated Spectator. In The Performance Studies Reader, Warr, Tracey (Ed.) The Artist s Body. Survey by Amelia Jones. The Artist s Body. (3rd ed.). New York Phaidon Press. Week Lecture: Discussion and analysis of Pussy Riot a Punk Prayer (Dramaten), Tuesday, February 23, 14:00 17:00, Manne Siegbahn A B, Room 119. Gessen, Masha Words Will Break Cement. The Passion of Pussy Riot. New York: Riverhed Books. 4

5 12. Studentfika & supervision (Tiina). Thursday February 25, 13:00 16:00, Studenthuset, Universitetsvägen 2 B. Meeting point at the entrance. Week Lecture: Performing Affects, Tuesday, March 1, 14: , Manne Siegbahn A B, Room 119 Ahmed, Sara. The Cultural Politics of Emotion, (Pain); (Hate); (Fear); (Disgust); (Shame). Dolan, Jill. The Feminist Spectator in Action. Feminist Criticism for the Stage and Screen, (Activism). 14. Studentfika & Supervision, Thursday, March 3, 10:00 12:00, Studenthuset, Universitetsvägen 2 B. Meeting point at the entrance. Week Lecture: Analyzing Street Demonstrations. Tuesday, March 8, 14:00 17:00, Manne Siegbahn A B, Room 101. Johannes Fabian. Theater and Anthropology, Theatricality and Culture. In The Performance Studies Reader, Schechner, Richard. Performance Studies: the broad spectrum approach. In The Performance Studies Reader, 7 9. Mohanty, Chandra Talpade. Under Western Eyes: Feminist scholarship and colonial discourses. Boundary 2, 12 no. 3/ 1986, Scott, Joan Wallach The Politics of the Veil. Princeton: Princeton University Press. Spivak, Gayatri Chakravorty. Can the Subaltern Speak? In Marxism and the Interpretation of Culture, edited by Cary Nelson and Lawrence Grossberg, Champagin, IL: University of Illinois Press, 1988, :00 19:00 Fieldwork & ethnography: International Women s Day demonstrations in Stockholm. 16. Lecture: Presenting results from Women s Day demonstration. Summing Up. Thursday, March 10, 14:00 17:00, Manne Siegbahn A B, Room

6 Week Submission of papers, Friday, March 18, 15:00, Manne Siegbahn A B. Meeting point at the entrance. Choose a second performance or an event you feel passionate about. Make an outline and organize your notes. Identify the goal of your paper: is it an argumentative or analytical paper? State the structure and the main points of your argument explicitly and clearly in the outset and finally in a brief summary. Don t forget your references and bibliography. The essay should be approximately 5 6 pages; double-spaced in Times New Roman: 12. Week Returning papers, Monday, April 4, 14:00 15:00, Studenthuset, Universitetsvägen 2 B. Meeting point at the entrance. BIBLIOGRAPHY Required reading: Ahmed, Sara The Cultural Politics of Emotion, New York: London. Bial, Henry and Sara Brady (Eds.) The Performance Studies Reader. (3rd ed.) London: Routledge. Carlson, Marvin Performance: a Critical Introduction (2nd ed.). London: Routledge. Dolan, Jill The Feminist Spectator in Action. Feminist Criticism for the Stage and Screen. New York: Palgrave Macmillan. Butler, Judith Gender Trouble. Feminism and the Subversion of Identity. New York: Routledge. Case, Sue-Ellen (or later). Feminism and Theatre. New York: Routledge, Gessen, Masha Words Will Break Cement. The Passion of Pussy Riot. New York: Riverhed Books. Lord, Catherine and Richard Meyer (Eds.) Art & Queer Culture. New York: Phaidon Press. Mohanty, Chandra Talpade Under Western Eyes: Feminist scholarship and colonial discourses. Boundary 2, 12 no. 3, Reckitt, Helena (Ed.) Art and Feminism. Survey by Peggy Phelan. Art and Feminism. (3rd ed.). New York: Phaidon. Scott, Joan Wallach The Politics of the Veil. Princeton: Princeton University Press. Shaw, Peggy A Menopausal Gentleman. The Solo Performances of Peggy Shaw, edited by Jill 6

7 Dolan. Ann Arbor: The University of Michigan Press. Spivak, Gayatri Chakravorty Can the Subaltern Speak? In Marxism and the Interpretation of Culture, edited by Cary Nelson and Lawrence Grossberg, Champagin, IL: University of Illinois Press, Sturken, Marita and Lisa Cartwright Practises of Looking. An Introduction to Visual Cultural, New York and Oxford: Oxford University Press. Warr, Tracey (Ed.) The Artist s Body. Survey by Amelia Jones. The Artist s Body. (3rd ed.). New York Phaidon Press. Assessment criteria for the written paper A: An outstanding performance in which the student demonstrates a superior grasp of the subject matter, and an ability to go beyond the given material in a critical and constructive manner. The student demonstrates a high degree of creative thinking, a superior ability to organize, to analyze, and to integrate ideas, and a thorough familiarity with the appropriate literature and techniques. Language and style are at an appropriate academic level. B: A more than adequate performance in which the student demonstrates a thorough grasp of the subject matter, and a convincing ability to organize and examine the material in a critical and constructive manner. The student demonstrates a good understanding of the relevant issues and a familiarity with the appropriate literature and techniques. Language and style are very good. C: An adequate performance in which the student demonstrates a generally solid grasp of the subject matter and an ability to examine the material in a critical and constructive manner. The student displays a satisfactory understanding of the relevant issues, and a general familiarity with the appropriate literature and techniques. Shortfalls in some areas. D: An acceptable performance in which the student demonstrates a familiarity with the subject matter, but the attempts to examine the material in a critical and constructive manner are only partially successful. The student displays some understanding of the relevant issues, and some familiarity with the appropriate literature, but there are shortfalls in a number of areas. Linguistic weaknesses. E: A performance at the lowest acceptable level, with little analysis and discernable weakness in multiple areas. Considerable linguistic weaknesses. Fx: The course requirements have only been partially completed and obvious shortfalls exist in knowledge and proficiency. Through completing additional requirements the student may be able to reach the required pass level (E). 7

8 F: The course requirements have not been completed and the student shows an obvious shortfall in knowledge and understanding of the subject. 8