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Książki na temat „Performances as text”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 28 stycznia 2023

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1

Flueckiger, Joyce Burkhalter. Boundaries of the Text: Epic Performances in South and Southeast Asia. Ann Arbor: University of Michigan Press, 2020.

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2

Burkhalter, Flueckiger Joyce, i Sears Laurie Jo, red. Boundaries of the text: Epic performances in South and Southeast Asia. Ann Arbor, Mich: Center for South and Southeast Asian Studies, University of Michigan, 1991.

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3

Bond, Peter. Locating performance: Performance related text. London: b light more light, 2003.

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4

Wells, Stanley. Shakespeare: Text to performance. [Great Britain]: The author, 1991.

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5

Peter, Reynolds. Shakespeare: Text into performance. London, England: Penguin Books, 1991.

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6

Nāvaḍa, A. Vi. Kaadyanaata: Text and performance. Udupi, India: Regional Resource Centre for Folk Performing Arts, 1993.

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7

Guerrero, art by Alex, red. Dominicanish: A performance text. New York: I Om Be Press, 2000.

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8

Chartered Institute of Management Accountants. Performance management: Study text. Wyd. 2. Oxford: CIMA, 2011.

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9

Association of Chartered Certified Accountants (ACCA). ACCA: Performance management, study text. Wyd. 3. London: BPP Learning Media, 2009.

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10

Association of Chartered Certified Accountants (ACCA). ACCA complete text: Performance management. Workingham: Kaplan Pub., 2011.

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11

Hofstra University. Horstra Cultural Center. Millennial Shakespeare: Performance/text/scholarship. Hempstead, NY: Hofstra University, 1999.

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12

Circling Marilyn: Text, body, performance. Odense: University Press of Southern Denmark, 2010.

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13

Jenkins, Jacqueline, i Julie Sanders, red. Editing, Performance, Texts. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137320117.

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14

Fox, Terry. Terry Fox: Articulations, labyrinth, text works. Philadelphia: Goldie Paley Gallery, 1992.

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15

Draper, R. P. The winter's tale: Text and performance. Basingstoke: MacMillan, 1985.

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16

Pearce, Sharyn, i Kerry Mallan. Seriously playful: Genre, performance and text. Flaxton, Qld: Post Pressed, 2004.

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17

Making theatre: From text to performance. London: Athlone Press, 2000.

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18

Inc, ebrary, i Global Conference on Critical Issues in Sex and Sexuality (3rd : 2006 : Kraków, Poland), red. Negotiating sexual idioms: Image, text, performance. Amsterdam: Rodopi, 2008.

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19

Draper, R. P. The winter's tale: Text and performance. Basingstoke: Macmillan, 1985.

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20

Kobayashi, Miyoko. Hitting the mark: How can text organisation and response format affect reading test performance? Oxford: Peter Lang, 2009.

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21

Text and act: Essays on music and performance. New York: Oxford University Press, 1995.

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22

Jiang, Y. Jane. Mechanistic evaluation of test data from LTPP jointed concrete pavement test sections. McLean, VA: U.S. Dept. of Transportation, Federal Highway Administration, Research and Development, Turner-Fairbank Highway Research Center, 1998.

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23

Hawaii. Office of Instructional Services. Physical fitness performance test. Honolulu, Hawaii: Office of Instructional Services, 1990.

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24

Hawaii. Office of Instructional Services. Physical fitness performance test. Honolulu, Hawaii: Office of Instructional Services, 1990.

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25

(Firm), BAR/BRI, red. Multistate performance test workbook. Wyd. 2. United States]: BAR/BRI, 2009.

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26

Bruce, Henderson, red. Performance: Texts and contexts. New York: Longman, 1993.

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27

Schnitzler, Arthur. Eight plays: Performance texts. Evanston, Ill: Northwestern University Press, 2007.

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28

Naṃ, Śaṅkaranārāyaṇa Ṭi. The epic of Junjappa: Text and performance. Udupi, Karnataka, India: Regional Resources Centre for Folk Performing Arts, M.G.M. College, 1994.

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29

Chartered Institute of Management Accountants. CIMA Paper P1: Performance operations : study text. Wyd. 2. Wokingham, Berkshire: Kaplan Pub., 2013.

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30

Association of Chartered Certified Accountants (ACCA). ACCA: Paper F5 : performance management : complete text. Wokingham, Berkshire: Kaplan Publishing UK, 2016.

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31

Sears, Laurie, i Joyce Burkhalter Flueckiger. Boundaries of the Text: Epic Performances in South and Southeast Asia. University of Michigan, Center for South & Southeast Asian Studies, 2020.

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32

Sears, Laurie, i Joyce Burkhalter Flueckiger. Boundaries of the Text: Epic Performances in South and Southeast Asia. University of Michigan, Center for South & Southeast Asian Studies, 2020.

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33

(Editor), B. Ozieblo, i M. D. Narbona-carrion (Editor), red. Codifying the National Self: Spectators, Actors And the American Dramatic Text (Dramaturgies. Texts, Cultures and Performances). Peter Lang Publishing, 2006.

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34

Boundaries of the Text: Epic Performances in South and Southeast Asia (Michigan Papers on South and Southeast Asia). Centers for South and Southeast Asia, Th, 1999.

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35

(Editor), Joyce Burkhalter Flueckiger, i Laurie J. Sears (Editor), red. Boundaries of the Text: Epic Performances in South and Southeast Asia (Michigan Papers on South and Southeast Asia). University of Michigan Centers for South and, 1991.

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36

Melamed, Daniel R. Performing the Mass in B Minor in an Age of Choices. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190881054.003.0001.

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Every performance of Johann Sebastian Bach’'s Mass in B Minor makes choices. The work’s compositional history and the nature of the sources that transmit it require performers to make decisions about its musical text and about the performing forces used in its realization. The Mass’s editorial history reflects deeply ideological views about Bach’s composition and how it should sound, not just objective reporting on the piece, with consequences for performances that follow specific editions. Things left unspecified by the composer need to be filled in, and every decision—including the choice to add nothing to Bach’s text—represents an interpretation. And the long performance history of the Mass offers a range of possibilities, reflecting a tension between the performance of a work like the Mass in Bach’s time and the tradition inherited from the nineteenth century. Every performance thus represents a point of view about the piece; —there are no neutral performances.

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37

Tempest: Text and Performance (Text & Performance). Palgrave Macmillan, 1985.

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38

Ryan, Kiernan. Shakespeare: Texts and Contexts (Shakespeare, Text and Performance). Palgrave Macmillan, 2001.

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39

Ryan, Kiernan. Shakespeare: Texts and Contexts (Shakespeare, Text and Performance). Palgrave Macmillan, 2001.

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40

Schwartz, Jessica A. Vocal Ability and Musical Performances of Nuclear Damages in the Marshall Islands. Redaktorzy Blake Howe, Stephanie Jensen-Moulton, Neil Lerner i Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.37.

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The United States conducted sixty-seven nuclear tests in the Marshall Islands from 1946 through 1958. The program was shrouded in secrecy; information about the tests conducted on Marshallese bodies and their land remains classified. This essay considers how Marshallese women from Bikini Atoll and Rongelap Atoll musically sound physical and physiological disruptions and dislocations that expose broader damages caused by the nuclear testing program. Analyzing compositions and performances from a repertoire of Marshallese “radiation songs,” the essay proposes a stylistic framework that works to familiarize listeners with a sonorized logic of radiation which is compiled through recurring motifs of the disabled voice, text setting and silences, and the figure of the question, literal and rhetorical. I stress the political import of these songs as highlighting the failures of biopolitical controls on communities by exposing the production of confined disability at the level of cultural and structural violence.

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41

Suematsu, Michiko. Verbal and Visual Representations in Modern Japanese Shakespeare Productions. Redaktor James C. Bulman. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199687169.013.32.

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Despite growing interest in Asian Shakespeare performances, the intercultural strategy of Asian Shakespeare has largely been discussed from a scenographic perspective due to its powerful visual representations that transcend cultural boundaries. This chapter aims to correct the overemphasis on visual representation in critical assessment of Japanese Shakespeare performances by discussing, first, the presence of language in Yukio Ninagawa’s Shakespeare productions, and, second, the characteristic use of dramatic texts in productions by the Ku Na’uka Theatre Company, Mansai Nomura, and the Shakespeare for Children Company, which each demonstrate bold and unique modes of engagement with the text. The chapter finally discusses whether or not there is a uniquely Japanese theatrical response to the text and, if so, what cultural factors lie behind it.

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42

The performance text. New York: Legas, 1999.

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43

Macintosh, Fiona, i Justine McConnell. Performing Epic or Telling Tales. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198846581.001.0001.

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Performing Epic or Telling Tales takes the new millennium as a starting point for an exploration of the turn to narrative in twenty-first-century theatre, which is often also a turn to Graeco-Roman epic. However, the dominant focus of Performing Epic is less on ‘what’ the recent epic turn in the theatre consists of than ‘why’ it seems to be so prevalent. The authors explain this turn with reference not only to the translation and scholarly histories of the epics but also to earlier performance traditions and, notably, to recent theoretical debates relating to text-based ‘drama’ and performance based ‘theatre’. What is perhaps most remarkable about this epic turn is not simply the sheer number of outstanding performances that it has produced; it is also that recent practice appears to have outstripped much theoretical discussion about theatre. In chapters ranging from spoken word performances to ballet, from the use of machines and technology, to performances that make space for voices occluded by the ancient epics, Performing Epic seeks to contextualize and explain the ‘narrative’/storytelling (re-)turn in recent live performances—a turn that regularly entails engagement with ancient Graeco-Roman epics, which provide poets, playwrights, artists, and theatre makers with a storehouse of rich, often perceived as ‘raw’, material. Refigured and refracted for the modern era, the epics of ancient Greece and Rome are found to be particularly revealing, and particularly ‘telling’ of the contemporary wider cultural sphere.

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44

Text and Act. New York: Oxford University Press, 2007.

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45

BaÌez, Josefina. Dominicanish: A performance text. Josefina BaÌez, 2000.

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46

Volpone (Text and Performance). Humanities Press Intl, 1985.

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47

Younger, Alison. Drama - Text and Performance. Edinburgh University Press, 2007.

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48

Drama Text into Performance. Penguin Books, 1986.

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49

Younger, Alison. Drama: Text and Performance. Edinburgh University Press, 2007.

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50

Sulimma, Maria. Gender and Seriality. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474473958.001.0001.

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The notion of seriality and serial identity performance runs as a strong undercurrent through feminist theory, gender studies and queer studies. Defining gender as a serial and discursively produced entanglement of different practices and agencies, Gender and Seriality argues that serial storytelling can offer such complex negotiations of identity that the ‘results’ of televisual gender performances are rarely separate from the processes that produce them. As such, gender performances are not restricted to individual television programmes themselves, but are also located in official paratexts, such as making-of documentaries, interviews with writers and actors, and in cultural sites like online viewer discussions, recaps and fan fiction. With case studies of series such as Girls, How to Get Away With Murder and The Walking Dead, this book seeks to understand how gender as a practice is generated by television narratives in the overlapping of text, reception and production, and explores the viewer practices that these narratives seek to trigger and draw on in the process

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