Winner of the Association for Theatre in Higher Education Excellence in Editing Award 2016
Urban studies has long understood the city as a ‘text’. What would it mean now to use performance to rethink that metaphor? Performance and the City queries the role theatre and performance play in urban policy, architecture, and civic history, while also exploring their important place in the memories created in the wake of urban trauma.
Table of Content
List of Illustrations Acknowledgements Notes on Contributors Introduction: City/Text/Performance; K.Solga with D.J.Hopkins & S.Orr PART I: PEDESTRIANISMS, OR REMEMBERING THE CITY Pedestrianisms or Remembering the City: Introduction; D.J.Hopkins Ways to Walk New York After 9/11; M.Carlson Memory/Memorial/Performance: Lower Manhattan, 1776 / 2001; D.J.Hopkins & S.Orr Patricide and the Passerby; R.Schneider PART II: URBAN PERFORMANCE AND CULTURAL POLICY Urban Performance and Cultural Policy: Introduction; K.Solga Multicultural Text, Intercultural Performance: The Performance Ecology of Contemporary Toronto; R.Knowles Mission Accomplished: Broadway, 9/11, and the Republican National Convention; R.A.Rugg Performing the Civic Transnational: Cultural Production, Governance, and Citizenship in Contemporary London; M.Mc Kinnie PART III: PERFORMING (FOR) ONE ANOTHER: CONSTRUCTING COMMUNITIES Performing (for) One Another: Introduction; S.Orr Surviving the City: Press Agents, Publicity Stunts, andthe Spectacle of the Urban Female Body; M.Schweitzer Dress Suits to Hire and the Landscape of Queer Urbanity; K.Solga Global Exposures: Blur Street and Interurban Self-Portraiture (a photo essay); Curated by K.Irwin, R.Viader Knowles & L.Levin PART IV: AT THE CITY LIMITS At the City Limits: Introduction; K.Solga Staging the Imagined City in Australian Theatre; J.Tompkins Agency and Complicity in ‘A Special Civic Room’: London’s Tate Modern Turbine Hall; J.Harvie Staging a Vanished Community: Daniel Libeskind’s Scenography in the Berlin Jewish Museum; K.van den Berg 13 Can the City Speak? Site-Specific Art After Poststructuralism; L.Levin Afterword; B.Hodgdon Index
About the author
MARLA CARLSON is Assistant Professor at the University of Georgia, USA JEN HARVIE is Reader in Theatre and Performance at Queen Mary, University of London, UK BARBARA HODGDON is a Professor in the Department of English Language and Literature at the University of Michigan, USA KATHLEEN IRWIN teaches at the University of Regina, Canada RIC KNOWLES is Professor of Theatre Studies at the University of Guelph, Canada LAURA LEVIN is an Assistant Professor of Theatre at York University, UK MICHAEL MCKINNIE is Senior Lecturer in Drama at Queen Mary, University of London, UK REBECCA ANN RUGG teaches in the Department of Dramaturgy and Dramatic Criticism at the Yale School of Drama, USA REBECCA SCHNEIDER teaches performance studies, theatre studies, and theories of intermedia at Brown University, USA MARLIS SCHWEITZER is Assistant Professor in Theatre Studies at York University, UK JOANNE TOMPKINS teaches at the University of Queensland in Brisbane, Australia KLAUS VAN DEN BERG is Associate Professor at the University of Tennessee in Knoxville, USA RACHELLE VIADER KNOWLES is a visual artist working in a broad range of contemporary and digital media SUSAN BENNETT is University Professor in the Department of English at the University of Calgary, Canada
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