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Distributed for Museum Tusculanum Press

Visions and Revisions

Performance, Memory, Trauma

Visions and Revisions brings the fields of performance studies and trauma studies together in conversation where they inform crucial themes such as trauma, testimony, witness, and spectatorship. While performance studies is increasingly addressing trauma and how to represent it, attention is still often relegated to high-brow forms of art and political theater. The contributors here fill a critical gap, raising questions about how popular and mediatized performances that memorialize trauma might also be viewed through performance theory. They also look at how performance studies might shift its focus from the visual to the sensorial and material—as a method of rethinking the act of witness—and in doing so offer a fresh perspective on performance and trauma studies. 

236 pages | 34 halftones | 6 1/2 x 9 1/2 | © 2013

In Between States

Art: Art--General Studies


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Table of Contents

Acknowledgements

List of Figures

Introduction: From Sight to Site

Performance in Memory and Trauma Studies

Bryoni Trezise and Caroline Wake

VISIONS

1. The Accident and the Account

Towards a Taxonomy of Spectatorial Witness in Theatre and Performance Studies

Caroline Wake

2. Torture in the Field of Refracted Suffering

Mike Parr and the Pain of Becoming Un-Australian

Christine Stoddard

3. Identity Politics and Mobility

Kara Walker and Berni Searle

Petra Kuppers

4. Responsibility and the Dangers of Proximity

Responding to Caryl Churchill’s Seven Jewish Children

Helena Grehan

5. The Ethics and Politics of Witnessing Whoopi

Geraldine Harris

REVISIONS

6. Coming to Terms with Trauma Tourism

Laurie Beth Clark

7. Memory, Self and Landscape

Performing Australian National Trauma in Thailand

Chris Hudson

8. Grave Dancing

Divergent Recollection along the Tourist Traumascape

Bryoni Trezise

9. Architecture of the Aftermath

Adrian Lahoud and Sam Spurr

10. Listening to the Long Soviet Silence

Trauma, Memory and the Soviet Experience

Maria Tumarkin

Notes on Contributors

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