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  3. Beyond Text: Theater and Performance in Print After 1900

Beyond Text: Theater and Performance in Print After 1900

Jennifer Buckley
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Taking up the work of prominent theater and performance artists, Beyond Text reveals the audacity and beauty of avant-garde performance in print. With extended analyses of the works of Edward Gordon Craig, German expressionist Lothar Schreyer, the Living Theatre, Carolee Schneemann, and Guillermo Gómez-Peña, the book shows how live performance and print aesthetically revived one another during a period in which both were supposed to be in a state of terminal cultural decline. While the European and American avant-gardes did indeed dismiss the dramatic author, they also adopted print as a theatrical medium, altering the status, form, and function of text and image in ways that continue to impact both the performing arts and the book arts.

 

Beyond Text participates in the ongoing critical effort to unsettle conventional historical and theoretical accounts of text-performance relations, which have too often been figured in binary, chronological ("from page to stage"), or hierarchical terms. Across five case studies spanning twelve decades, Beyond Text demonstrates that print—as noun and verb—has been integral to the practices of modern and contemporary theater and performance artists.

 

  • Cover
  • Title Page
  • Copyright Page
  • Dedication
  • Contents
  • Acknowledgments
  • Preface
  • Introduction
  • Chapter 1. “A Place for Seeing”
  • Chapter 2. Scoring Theater
  • Chapter 3. Collective Creation and Commercial Publication
  • Chapter 4. The Body in the Book
  • Chapter 5. The Bookwork as Border Kit
  • Coda
  • Notes
  • Bibliography
  • Index
Citable Link
Published: 2019
Publisher: University of Michigan Press
ISBN(s)
  • 978-0-472-12589-0 (ebook)
  • 978-0-472-07425-9 (hardcover)
Subject
  • Art:Art History
  • Theater and Performance
  • Literary Studies

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Carolee Schneemann and Felipe Ehrenberg with mimeograph machine and cat.

Ehrenberg and Schneemann

From Chapter 4

Figure 21. Schneemann and Felipe Ehrenberg, with mimeograph and cat, c. 1971. The Beau Geste Press Ephemera, 1970–76, Department of Special Collections, Cecil H. Green Library, Stanford University. Image courtesy of Stanford University Libraries. Reproduced by permission of Lourdes Hernández Fuentes.

Front and back covers of Parts of a Body House Book.

front and back cover, Parts of a Body House Book

From Chapter 4

Figure 22. Front (left) and back (right) covers of Carolee Schneemann, Parts of a Body House Book (Cullompton, Devon, UK: Beau Geste Press, 1972). Images courtesy of the Getty Research Institute. Reproduced by permission of Carolee Schneemann.

“Blood Work” by Carolee Schneemann.

"Blood Work," Parts of a Body House Book

From Chapter 4

Figure 23. Schneemann, “Blood Work,” Parts of a Body House Book. Image courtesy of the Getty Research Institute. Reproduced by permission of Carolee Schneemann.

“INDEX” of Parts of a Body House Book by Carolee Schneemann.

"INDEX," Parts of a Body House Book

From Chapter 4

Figure 24. Schneemann, “INDEX,” Parts of a Body House Book. Image courtesy of the Getty Research Institute. Reproduced by permission of Carolee Schneemann.

“Americana I Ching Apple Pie” by Carolee Schneemann.

"Americana I Ching Apple Pie," Parts of a Body House Book

From Chapter 4

Figure 25. Schneemann, “Americana I Ching Apple Pie,” Parts of a Body House Book. Image courtesy of the Getty Research Institute. Reproduced by permission of Carolee Schneemann.

Carolee Schneemann reading with cat Kitch in her lap.

"C. S. and Kitch," Cezanne, She Was a Great Painter

From Chapter 4

Figure 26. “C. S. and Kitch,” in Schneemann, Cezanne, She Was a Great Painter (New York: Tresspuss Press, 1975). Photograph by [Leo] Choplin. Image courtesy of Special Collections, University of Iowa Libraries. Reproduced by permission of Carolee Schneemann and Neil Choplin.

Cover of Cezanne, She Was a Great Painter.

Cezanne, She Was a Great Painter

From Chapter 4

Figure 27. Schneemann, cover of Cezanne, She Was a Great Painter. The inscription to Lil Picard reads, “Thank you Lil for helping my work move out—again! with love, Carolee.” Image courtesy of Special Collections, University of Iowa Libraries. Reproduced by permission of Carolee Schneemann.

Reading area from Up to and Including Her Limits.

Up to and Including Her Limits

From Chapter 4

Figure 28. Reading area, Up to and Including Her Limits, The Kitchen, New York City, 1976. Photograph uncredited. Carolee Schneemann Papers, 1959–94, Special Collections, Getty Research Institute. Image courtesy of the Getty Research Institute. Reproduced by permission of Carolee Schneemann.

Pages from Vulva’s Morphia.

Vulva's Morphia

From Chapter 4

Figure 29. Schneemann, Vulva’s Morphia (New York: Granary Books, 1997). Image courtesy of the University of Iowa Libraries. Reproduced by permission of Carolee Schneemann.

Codex Espangliensis: From Columbus to the Border Patrol.

Codex Espangliensis 1

From Chapter 5

Figure 30. Guillermo Gómez-Peña, Enrique Chagoya, and Felicia Rice, Codex Espangliensis: From Columbus to the Border Patrol (Santa Cruz, CA: Moving Parts Press, 1998). Image courtesy of the Ryerson and Burnham Libraries, Art Institute of Chicago. Reproduced by permission of the artists.

Third spread of Codex Espangliensis: From Columbus to the Border Patrol.

Codex Espangliensis 2

From Chapter 5

Figure 31. Gómez-Peña, Chagoya, and Rice, Codex Espangliensis, third spread. Image courtesy of the Ryerson and Burnham Libraries, Art Institute of Chicago. Reproduced by permission of the artists.

Sixth spread of Codex Espangliensis: From Columbus to the Border Patrol.

Codex Espangliensis 3

From Chapter 5

Figure 32. Gómez-Peña, Chagoya, and Rice, Codex Espangliensis, sixth spread. Image courtesy of the Ryerson and Burnham Libraries, Art Institute of Chicago. Reproduced by permission of the artists.

Eleventh spread of Codex Espangliensis: From Columbus to the Border Patrol.

Codex Espangliensis 4

From Chapter 5

Figure 33. Gómez-Peña, Chagoya, and Rice, Codex Espangliensis, eleventh spread. Image courtesy of the Ryerson and Burnham Libraries, Art Institute of Chicago. Reproduced by permission of the artists.

The author’s reflections in DOC/UNDOC Documentado/Undocumented Ars Shamánica Performática.

DOC/UNDOC: Documentado/Undocumented Ars Shamámica Performática

From Chapter 5

Figure 34. The author documenting a performance with DOC/UNDOC Documentado/Undocumented Ars Shamánica Performática (Santa Cruz: Moving Parts Press, 2014), Special Collections Reading Room, University of Iowa Main Library. Photograph by the author. Reproduced by permission of Rice and Gómez-Peña.

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DOC/UNDOC: Documentado/Undocumented Ars Shamánica Performática, online exhibition, Museo Eduardo Carillo

From Chapter 5

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