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Sites of Performance


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An examination of the impact of time and memory as they intersect and constitute the spaces of various theatres.

A primary focus of ‘Sites of Performance: Of Time and Memory’ is the impact of time and memory as they intersect and constitute the varied spaces of theatre. These spaces include more traditional sites of theatre, such as those involving stages and curtains, actors and audiences, as well as those other theatres or spaces of performance that range from performance and installation art, to the performance of a string quartet, and from the writing of performance, to the performance of writing.

Preface; 1. A Body Bending: Removing the Boots of Beckett and Proust; 2. (“Silence”): Scripting Absence; 3. Blood on the Wall: The True Tragic Pleasure of “Medea”; 4. Coriolanus in the Marketplace 5. Antonin Artaud’s Unending Death Rattle; 6. Writing upon Theaters of Tragic Thought; 7. Figures of Speech: Ann Hamilton’s Installations of Absence; 8. Illuminated Theater: The Stages of James Turrell; 9. Suspicious Silence: Walking Out on John Cage; 10. In Living Memory: Morton Feldman’s Departing Landscapes; Postscript: Seeing In Plain Sight — Installations in Flight; Bibliography; Index



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Published 01 October 2014
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EAN13 9781783082902
Language English
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Sites of Performance
Anthem Studies in Theatre and Performancetakes a broad, global approach to cultural analysis to examine and critique a wide range of performative acts from the most traditional forms of theatre studies (music, theatre and dance) to more popular, less structured forms of cultural performance. The twentyfirst century in particular has seen theatre and performance studies become a major perspective for examining, understanding and critiquing contemporary culture and its historical roots. In addition to traditional theatre studies, then, the series takes as its subject international folk performances, minstrel and music hall shows, vaudeville, burlesque, ballroom dance, rock concerts, professional wrestling, football and soccer matches, snake charming, American snakehandling religions, shamanism, street protests, Nascar or Formula 1 races, tractor pulls, fortune telling, circuses, technomobbing, the gestures of painting and writing, and even the performance that denies itself, that pretends that it is not play(ing). Performance is thus a vital manifestation of culture that is enacted, a form to be experienced, recorded, analysed and theorized. It is among the most useful and dynamic foci for the global study of culture.
Series Editor
S. E. Gontarski – Florida State University, USA
Editorial Board
Alan Ackerman – University of Toronto, Canada Robson Corrêa de Camargo – Universidade Federal de Goiás, Brazil Stephen A. Di Benedetto – University of Miami, USA Herbert Blau – University of Washington, USA Enoch Brater – University of Michigan, USA Annamaria Cascetta – Università Cattolica, Milan, Italy Christopher Innes – York University, Canada Anna McMullan – University of Reading, UK Martin Puchner – Harvard University, USA Kris Salata – Florida State University, USA W. B. Worthen – Barnard College, Columbia University, USA
Sites of Performance
Of Time and Memory
Clark Lunberry
Anthem Press An imprint of Wimbledon Publishing Company www.anthempress.com
This edition first published in UK and USA 2014 by ANTHEM PRESS 75–76 Blackfriars Road, London SE1 8HA, UK or PO Box 9779, London SW19 7ZG, UK and 244 Madison Ave #116, New York, NY 10016, USA Copyright © Clark Lunberry 2014
The author asserts the moral right to be identified as the author of this work.
All rights reserved. Without limiting the rights under copyright reserved above, no part of this publication may be reproduced, stored or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise), without the prior written permission of both the copyright owner and the above publisher of this book.
British Library CataloguinginPublication Data A catalogue record for this book is available from the British Library.
Library of Congress CataloginginPublication Data Lunberry, Clark D. Sites of performance : of time and memory / Clark Lunberry. pages cm. – (Anthem studies in theatre and performance) Includes bibliographical references and index. 1. Drama–History and criticism. 2. Time in literature. 3. Theater–Philosophy. 4. Space in literature. 5. Memory in literature. I. Title. PN1650.T56L86 2014 792.01–dc23 2014028894
ISBN13: 978 1 78308 287 2 (Hbk) ISBN10: 1 78308 287 9 (Hbk)
Cover photo by the author.
This title is also available as an ebook.
To the time and memory of my mother and father
Acknowledgements Preface
I. Stagings: Plays of Space Chapter 1Body Bending: Removing the A Boots of Beckett and Proust
Chapter 2Chapter 3
Chapter 4
(Silence): Scripting Absence
Blood on the Wall: The “True Tragic Pleasure” ofMedea
Coriolanus in the Marketplace
II. Sightings: Sites of Time Chapter 5 Antonin Artaud’s Unending Death Rattle Chapter 6upon Theaters of Tragic Thought Writing Chapter 7Ann Hamilton’sof Speech:  Figures Installations of Absence Chapter 8 Illuminated Theater: The Stages of James Turrell Chapter 9Silence: Walking Out on John Cage Suspicious Chapter 10 In Living Memory: Morton Feldman’s Departing Landscapes
Seeing in Plain Sight—Installations in Flight
ix xi
3 15
25 39
57 63 77
89 103 119
133 167
177 181
First and foremost, the late Herbert Blau (1926–2013), whose presence is felt in much of what follows, was instrumental in this book’s beginnings and in its end. He was my teacher for many years, and his own recent passing has only made clearer his impact on my life, my work, and the lives and work of so many others. I’d also like to acknowledge and thank the photographer Steven Foster whose powerful photographs are an important part of my first chapter; and Michael Boyles, of the University of North Florida’s Center for Instruction and Research Technology, for his crucial assistance with the design of so many of my past art installations, but also with this book and its cover—from a photograph that I took of my father’s watchmaker’s bench shortly after his death in 2012. The friendship and creative camaraderie of Michael Lazarin, Joe Milutis and Glen Powell have been important to the growth of many parts of this book, as well as conversations with my University of North Florida colleagues Keith Cartwright, Harry Rothschild and Michael Wiley. Finally, I thank my wife Yoshiko, my daughter Ayla and my son Noah; our shared time, our shared memories, have enriched deeply the work emerging from this book.


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