劇場人類學與表演研究

Week 1 – Introduction How have the anthropological studies of performance and ritual influenced the ways in which theater anthropology and performance studies consider body, symbolism, and sociality? This week we dive into the syllabus carefully and introduce the main themes of the readings. Reading: Ryan, Caitlin. ‘Performance as Ethnography,’ in Our Selves: Photographs by Women Artists, edited by Roxana Marcoci. N.Y.: The Museum of Modern Art, 2022, pp. 105-110.

Week 2 – Modern Theater Widely considered the first play of the 20th century, Anton Chekhov’s the Seagull sets up the themes that remain essential in the modern theater arts - including human nature, character formation, the metaphor, relationship, love, and vanity. By tracing the origin of these dramatic tropes back to Chekov, we may understand how issues of body and semiotics later come into shaping subjects of discussion in the scholarship of theater anthropology. Reading: ● Chekhov, Anton. The Seagull, in a version by Martin Crimp, based on a literal translation by Helen Rappaport. N.Y.: faber and faber, 2006 [1895].

Week 3 – Symbolism and Performance Reading: ● Geertz, Clifford. The Interpretation of Cultures, ch.15 ‘Deep Play: Notes on the Balinese Cockfight,’ Chicago: U. of Chicago P., 1973, pp. 412-454.

Week 4 – Performance and Ethnography Reading: ● Geertz, Clifford. The Interpretation of Cultures, ch.6 ‘Ritual and Social Change: A Javanese Example,’ Chicago: U. of Chicago P., 1973, pp. 142-169. ● Taylor, Diana. ‘Scenario of Discovery: Reflections on Performance and Ethnography,’ in The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham: Duke U.P., 2003, pp. 53-78.

Week 5 – Staging and Repetition Reading: ● Turner, Victor. ‘Frame, Flow and Reflection: Ritual and Drama as Public Liminality’ in Performance in Postmodern Culture, edited by Michel Benamou and Charies Caramello. Madison, Wisconsin: coda press inc, 1977, pp.33- 55. ● Lyotard, Jean-Francois. ‘The Unconscious as Mise-en-scène’ in Performance in Postmodern Culture, edited by Michel Benamou and Charies Caramello. Madison, Wisconsin: coda press inc, 1977, pp. 87-98.

Week 6 – Theatre and the State We discuss the important post-war theatre genre, Tent Theatre, which first emerged in Tokyo in the 1968 social movement. As a post-WWII political theatre, Tent Theatre aligns with major Japanese critical art forms in the post-WWII era—such as Butoh and dark enlightenment photography. We will use this week to discuss theatre’s complex relationship with the state, addressing the cultural and historical politics constantly entangled in voicing critique in a theatrical form. Reading: ● Hsieh, I-Yi. ‘Theatre on the Move: Sakurai Daizo’s Tent Theatre in Asia,’ Asian Theatre Journal, Vol. 36, No.1. 2019, pp. 101-121. ● Kim, Jae Kyoung. ‘2017 Black Tent Theatre Project in Gwanghwamun Square: Staging Tragic Memory and Building Solidarity through Public Theatre.’ Asian Theatre Journal, Vol. 36, No.1. 2019, pp. 122-143.

Week 7 – The Melodramatic Imagination Reading: ● Brooks, Peter. ‘The Melodramatic Imagination,’ the Melodramatic Imagination: Balzac, Henry James, and the mode of Excess. New Heaven, Yale U.P., 1995, pp. 1-23.

Week 8 – Japanese Melodrama and Capitalism Reading: ● Ivy, Marilyn. ‘Theatrical Crossings, Capitalist Dreams,’ Discourses of the Vanishing: Modernity, Phantasm, Japan. Chicago: Chicago U.P. 1995, pp. 192-240.

Week 9 – Performance in Museum Reading: ● Bishop, Claire. ‘Black Box, White Cube, Grey Zone: Performance Exhibitions and Hybrid Spectatorship’ in Disordered Attention: How We Look at Art and Performance Today, N.Y.: Verso, 2024, pp. 77-112. Suggested Reading: ● Bishop, Claire. ‘Introduction: OS, XXI, Disordering Attention’ in Disordered Attention: How We Look at Art and Performance Today, N.Y.: Verso, 2024, pp. 1-36.

Week 10 – Speech Act and Performativity Reading: ● Austin, J.L. ‘Lecture I,’ in How to Do Things with Words. Oxford, Claerndon P., 1962, pp.1-11. ● Ngai, Sianne. ‘The Cuteness of the Avant-Garde,’ in The Cute, edited by Sianne Ngai. Whitechapel Gallery, Cambridge, Massachusetts: MIT Press, 2022 [2012], pp. 45-53. ● Ivy, Marilyn. ‘The Art of Cute Little Things: Nara Yoshimoto’s Parapolitics,’ in The Cute, edited by Sianne Ngai. Whitechapel Gallery, Cambridge, Massachusetts: MIT Press, 2022 [2010], pp. 108-113.

Week 11 – All Made Up: Gender and Performativity Reading: ● Morris, Rosalind. ‘All made up: performance theory and the new anthropology of sex and gender,’ Annual Review of Anthropology 1995, 24: 567-92. Suggested Reading: • Ahmed, Sara. Complaint! Durham: Duke U.P. 2021.

Week 12 – Performance Studies and Embodied Memories Reading: ● Taylor, Diana. ‘Acts of Transfer,’ The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham: Duke U.P., 2003, pp. 1-52.

Week 13 – Environmental Theater & Anthropocene Art Reading: • Schechner, Richard. ‘Introduction’ and ‘Six Axioms’ in Environmental Theater. N.Y.: Applause Books. [1973]1994, pp. ix- xvii and xix-li.

Week 14 – Performative Bodies of Objects Reading: ● Getsy, David J. ‘Acts of Stillness: Statues, Performativity, and Passive Resistance,’ Criticism Vol. 56 No.1, pp. 1-20. ● Getsy, David J. ‘Preface,’ in Abstract Bodies: Sixties Sculpture in the Expanded Field of Gender, New Heaven: Yale U.P., 2015, pp. xi-xvii. ● Getsy, David J. The first half of ‘Introduction: “New” Genders and Sculpture in the 1960s,’ in Abstract Bodies: Sixties Sculpture in the Expanded Field of Gender, New Heaven: Yale U.P., 2015, pp. 1-19. Suggested Reading: • Getsy, David J. The second half of ‘Introduction: “New” Genders and Sculpture in the 1960s,’ in Abstract Bodies: Sixties Sculpture in the Expanded Field of Gender, New Heaven: Yale U.P. 2015, pp. 20-41.

Week 15 – Student Presentations I Students presenting their final paper project.

Week 16 – Individual Meetings Students schedule individual meetings, of 20-30 mins, with the instructor, in which their term paper and future study plans are the center of discussion.