Performance Studies and Negative Epistemology: Performance Apophatics

ISBN-13: 9781137520432 / Angielski / Twarda / 2017 / 301 str.

C. Chambers

Opis

Ideas about negativity, emptiness, nothingness, and disappearance have maintained great theoretical currency in the field of performance theory. Performance Apophatics argues that performance is often an ethical injunction against what it would know or seek to make known. The book explicates texts, performances, and theories of performance as negative epistemologies that encounter the unknown through the known, drawing from literature in theology and apophatic spirituality for guides and examples.

Recenzje

"Intellectually stimulating and thoroughly engaging, Claire Maria Chambers's Performance Studies and Negative Epistemology: Performance Apophatics, is an ambitious interweaving of the two concepts in her title, generating an emerging methodological approach predicated on a practice of 'critical unknowing'. ... this is a rewarding, challenging book, written with intellectual integrity and sagacity. It will surely make an important contribution to the fields of performance studies, performance and philosophy and performance and religion ... ." (Patrick Campbell, Performance, Religion and Spirituality, Vol. 1 (02), 2018)

Spis treści

1. Introduction.- 2. Performance Studies and Negative Epistemology.- 3. Intercultural Performance and the Apophatics of Appropriation.- 4. An Apophatics of the Archive: In Memoriam Reverend Doctor Florence Li Tim Oi.- 5. The Playwright as Negative Theologian: James Baldwin’s Blues for Mr. Charley.- 6. The Apophatics of the Object: Icon and Community.- 7. Conclusion.- 

O autorze

Claire Maria Chambers teaches modern American and British drama at Sogang University in Seoul, South Korea. Her articles have appeared in Theatre Journal, Performance Research, and Text and Performance Quarterly, among others.

Blurb

This book explores the intersection between apophaticism - negative theology - and performance. While apophaticism in literature and critical theory may have had its heyday in the heady debates about negative theology and deconstruction in the 1990s, negative ways of knowing and speaking have continued to structure conversations in theatre and performance studies around issues of embodiment, the non- and post-human, objects, archives, the ethics of otherness in intercultural research, and the unreadable and inaccessible in the work of minority artists. A great part of the history of apophaticism lies in mystic literature. With the rise of the New Age movement, which claimed historical mysticism as part of its genealogy, apophaticism has often been sidelined as spirituality rather than serious study.

This book argues that the apophatic continues to exert a strong influence on the discourse and culture of Western literature and especially performance, and th

at by reassessing this ancient form of negative epistemology, artists, scholars, students, and teachers alike can more deeply engage forms of unknowing through what cannot be said and cannot be represented in language, on the stage, and in every aspect of social life.