By Rebecca Schneider
'At final, the prior has arrived! Performing Remains is Rebecca Schneider's authoritative assertion on an important subject of curiosity to the sector of theatre and function experiences. It extends and consolidates her pioneering contributions to the sector via its interdisciplinary approach, vibrant writing, and stimulating polemic. Performing Remains has been eagerly awaited, and should be liked now and sooner or later for its rigorous investigations into the cultured and political capability of reenactments.' - Tavia Nyong'o, Tisch tuition of the humanities, ny University
'I have frequently puzzled the place the large, very important, paradigm-changing publication approximately re-enactment is: Schneider’s publication turns out to me to be that booklet. Her paintings is difficult, considerate and cutting edge and should set the time table for research in a few components for the following decade.' - Jerome de Groot, college of Manchester
Performing Remains is a stunning new examine exploring the position of the pretend, the fake and the pretend in modern functionality. Rebecca Schneider argues passionately that functionality will be engaged as what is still, instead of what disappears.
Across seven essays, Schneider offers a forensic and detailed exam of either modern and ancient functionality, drawing on a number of elucidating assets together with the "America" performs of Linda Mussmann and Suzan-Lori Parks, performances of Marina Abramovic´ and Allison Smith, and the ongoing well known attraction of Civil battle reenactments. Performing Remains questions the significance of illustration all through background and this present day, whereas boldly reassessing the ritual worth of failure to recapture the previous and recreate the "original."
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About the Author
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Additional info for Performing Remains: Art and War in Times of Theatrical Reenactment
Elizabeth Freeman has written of queerness in temporal reenactment, interpreting temporal play as cross-generational negotiation, or what she phrases “temporal drag. ”40 David Romàn, writing in the same vein, has coined the word “archival drag. ”41 For Freeman, reading lesbian movie and style, reenactment actively negotiates the temporal hard work in topic formation and the social. forty two Freeman’s suggestion of temporal drag should be learn as implicitly construction upon Homi Bhabha’s engagement with temporal lag – or the idea of the “time-lag” he credit to Frantz Fanon’s “The truth of Blackness. ”43 In her essay “Packing background, Count(er)ing Generations,” Freeman refuses to brush aside temporal replay as “merely” citational, or an issue of simulacra for simulacra’s sake, in its place examining for the strength of quotation within the political current. She writes: to lessen all embodied performances to the prestige of copies with out originals [the earlier as long past] is to disregard the attention-grabbing chance that the real past-ness of the prior occasionally makes to the political current. [. . . ] could a few our bodies, in registering on their very surfaces the co-presence of a number of traditionally particular occasions, pursuits, and collective pleasures, complicate or displace the centrality of gender-transitive drag to queer performativity? could they Foreword 15 articulate as a substitute one of those temporal transitivity that doesn't go away feminism, femininity, or different “anachronisms” in the back of? forty four the following, the earlier can at the same time be earlier – actual pastness – and at the stream, copresent, now not “left at the back of. ” Freeman is writing of the 1997 movie Shulie, Elisabeth Subrin’s shot-by-shot remake of an unreleased 1967 documentary of an analogous identify in regards to the then-unknown artwork pupil Shulamith Firestone (who went directly to write the influential manifesto The Dialectic of intercourse: The Case for Feminist Revolution, 1970). Subrin restaged the documentary and “meticulously duplicated its camerawork,” although after all the impossibility of tangible replication (the heritage is 1997, now not 1967, and so forth. ) makes for anachronistic touches that hang-out the reenactment. Freeman is raring to discover how Subrin’s movie faucets a type of strength in passing, and she or he makes transparent that it is a mode “fundamental to queer functionality. ” “Shulie’s promise lies,” she writes, “in what the language of feminist ‘waves’ and queer ‘generations’ occasionally effaces: The collectively disruptive power of moments that aren't but earlier and but usually are not solely current both. ”45 This “mutually disruptive strength” is compelling, and it's, in Freeman’s phrases, an strength of passing, an power of affect’s transmission. forty six it truly is one time passing directly to and as once more, but additionally no longer relatively passing. One time nearly yet now not absolutely passing in and as yet again. The prior can disrupt the current (as whilst a Civil struggle reenactor claims conflict isn't really over), yet so can also the current disrupt the previous (as whilst a Civil struggle reenactor claims conflict isn't really over); neither are fullyyt “over” nor discrete, yet in part and porously persist.