Marketing Fundamentals - BUAD 307



THTR 405m "Performing Identities"

Fall 2014 (63003R)—Monday/Wednesday—3:30-4:50PM

Location: VKC 210

Instructor: Dr. Meiling Cheng

Office: MCC 202

Office Hours: Friday 10-noon; by appointment only.

Contact Info: meilingc@usc.edu

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Course Description and Overview

"Performing Identities" explores the live performance medium as a creative means of social redress, personal expression, and cross-cultural communication. It investigates the medium's potentials to reflect, critique, construct, and enact a performing artist's emergent identities. The course fosters its participants' critical appreciation of art by probing the existential efficacy of creative production and the links between cultural and political citizenships under globalization.

Course materials range from solo shows in the early twentieth century to contemporary dramatic texts for ensemble work; from the socially engaged genre of self-performance, mediated identity performances in pop culture, to the sudden emergence of Flash Mob non-identities through communal dancing performances at various metropolitan centers around the world. Equal emphasis will be placed on the aesthetic dimension and the sociocultural, historical, economic, and political backgrounds of selected performance texts and theoretical essays. In our glocalized era, the course encourages its participants to value the challenge and pleasure of experiencing human diversity in interpersonal encounters across various boundaries.

Learning Objectives and Course Rationale

"Performing Identities" trains the students to acquire a higher level of intellectual agility and experiential sophistication in understanding personal and group identities in and through performances. The course fulfills the GE Arts Learning Objectives and Diversity requirement through analysis of live performance; making of solo or ensemble performance work; examining the connectivity between creative endeavors and their surrounding circumstances; discerning the various contexts that support and restrict artistic production; and helping the students engage with the language of art and its relation with the world.

Our inquiry departs from three premises: (1) We take live performance as a paradigmatic creative reflector and synthesizer of surrounding social, political, economic, cultural, and technological forces, their causes and consequences that affect human lives in the U.S. and in other countries; (2) We devote critical attention to individual and communal identities as our access to exploring "global citizenship," understood as a voluntary subject's ethical and dialectical engagement with others in the world; (3) We approach art as our conduit to debate about how to improve the quality of life in the US and around the world. Our course delves into the conjunction of these premises by focusing on relations between live performance and identity expressions, analyzing human diversity as an important facet of sociocultural existence in our increasingly interconnected and glocalized world.

The planned reading, writing, and viewing assignments, interactive class discussions, and solo or ensemble performance presentations explore all aspects of perceived human differences, which often influence an individual's identity formation and lived experiences. Most artists we study are from the United States, but their performance works actively engage with global issues (such as immigration, linguistic differences, divergent religious practices, minority group histories, etc.) and reveal the increasing transcultural diversities within the current U.S. population. Some other artists, hailing from various generations, countries, and continents, nevertheless enact similar "identity components" because of their shared interest in common causes (gender equality, sexual liberation, procreative rights, freedom of artistic expression, etc.). Yet others find innovative ways to perform the elusiveness of singular identities in our incrementally homogenized cosmopolitan world.

In the new millennium, the intensified process of globalization and the immersive force of mass media and communication technology have challenged our previously assumed distinctive categories of identity. Nevertheless, live performance remains a flexible enough expressive medium for artists to investigate their subjectivities, if mutable and ever multiplied. Through identity performances, contemporary artists voice their ethical and ecological concerns and confront persistent sociocultural prejudices; they agitate for political reforms and celebrate glocalized multiplicity.

At a moment when the electronic media and social networking websites have remodeled the concepts of individual identities and cultural communities across vast geographical distances and sociopolitical terrains, this course takes a proactive approach to tackle the interdependence between art and social progress, between creative expression and individual wellbeing, while initiating its learners into the process of obtaining and maintaining their global citizenships.

Required Readings and Supplementary Materials (in the order of appearance in our class; the viewing materials listed with the weekly schedules)

Ian, Janis. "At Seventeen." Web. 4 April 2014.

Queen Latifah. "Ladies First" lyrics. Web. 4 Apr. 2014.

Lady Gaga. "Bad Romance" lyrics. Web. 4 Apr. 2014.

Cotter, Holland. "The Topic Is Race; the Art Is Fearless," The New York Times. 30 March 2008. Web. 4 Apr. 2014.

Jack Halberstam, "Going Gaga"; "Gaga Feminism for Beginners." In Gaga Feminism: Sex, Gender, and the End of Normal. Beacon Press, 2012, xi-xv; 1-29.

Hayles, N. Katerine. "Prologue." In How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics. The Univ. of Chicago Press, 1999, xi-xiv.

Bonney, Jo, ed. Extreme Exposure: An Anthology of Solo Performance Texts from the Twentieth Century. Theatre Communications Group, 2000.

Horwitz, Simi. "A Newly Ambiguous Act. (Face to Face - Reno)." Back Stage 3 May 2002: 35+. Academic OneFile. Web. 4 Apr. 2014.

Carrie Sandahl, "Black Man, Blind Man: Disability Identity Politics and Performance," Theatre Journal 56.4 (Dec. 2004): 579-602.

Manning, Lynn. Weights: One Blind Man's Journey (2001). Audio CD. Bridge Multimedia, 2005.

Isherwood, Charles. "The Voices Inside the Border but Outside the Margins." The New York Times. 27 January 2006. Web. 5 Apr. 2014.

Jones, Sarah. [The Artist's Website.]

Roth, Moira. "The Amazing Decade: Women and Performance Art in America." In Moira Roth, ed. The Amazing Decade: A Source Book. Astro Artz, 1983, 14-41.

Truth, Sojourner. "Ain't I a Woman?" (1851). Web. 6 Apr. 2014.

Walker, Alice. "Womanist." In In Search of Our Mothers' Gardens: Womanist Prose. Harcourt Brace & Company, 1983 [1967], xi-xii.

Lorde, Audre. "Age, Race, Class, and Sex: Women Redefining Difference" (1980). In Sister Outsider: Essays and Speeches by Audre Lorde. The Crossing Press, 1998 [1984], 114-123.

Pence, Ellen. "Racism--A White Issue." In But Some of Us Are Brave: Black Women's Studies. Ed, Gloria T. Hull, Patricia Bell Scott, and Barbara Smith. The Feminist Press, 1982, 45-47.

Cherríe Moraga. "La Güera." In This Bridge Called My Back: Writings by Radical Women of Color. Kitchen Table: Women of Color Press, 1983 [1981], 27-34.

Anzaldúa, Gloria. "La Prieta." In This Bridge Called My Back, 198-209.

Fox, Oriana. – Timeline. 2012. Web. 5 Apr. 2014.

Coash, Tom. "Monologue: Intisar." An excerpt from Veils. 2010. Web. 5 Apr. 2014.

Yamauchi, Wakako. 12-1-A. In Velina Hasu Houston, ed. The Politics of Life: Four Plays by Asian American Women. Temple University Press, 1993, 45-100.

Orlandersmith, Dael. Yellowman. Vintage Books, 2002.

Cheng, Meiling. "Self performance." Excerpt from "Highways, L.A.: Multiple Communities in a Heterolocus." Theatre Journal 53 (Oct., 2001): 429-454. Print.

Hughes, Holly. Dress Suit to Hire. In Carol Martin, ed. A Sourcebook of Feminist Theatre and Performance. Routledge, 1996, 267-292.

Holden, Stephen. "Theater: 'Dress Suit'." The New York Times. 3 Feb. 1988. Web. 5 Apr. 2014.

Ken Cooper, "Practice with Transgendered Youth and Their Families." Journal of Gay and Lesbian Social Services 11.3 (2000): 111-29.

Zimmerman, Ethan. "Transie." In Gender Queer: Voices from Beyond the Sexual Binary. Ed., Joan Nestle, Clare Howell, and Riki Wilchins. Alyson Books, 2002, 190-193.

Du Plessis, Michael. "Hormones, Germs, and Cancer (This Is Not An Autobiography)." Narrativity 3 (2002). Web. 5 Apr. 2014.

Silvestrini, Luca. "Crossroads." Community Dance Magazine: Focus on Site-specific dance practice (Winter 2013). Pdf from Web. 8 May 2014.

Minns, Nicholas. "Protein: xoxo." "Writing about dance: Personal musings about dance and other related topics." A blog post (5 April 2013). Web. 8 May 2014.

II. Reference Texts (These texts and research resources help you understand the sociocultural and theoretical contexts of the artworks under discussion. You are encouraged to read them together with the required texts, even though we might not explicitly address them in class.)

Appadurai, Arjun. "Disjuncture and Difference in the Global Cultural Economy." In Modernity at Large: Cultural Dimensions of Globalization. University of Minnesota Press, 2003 [1996], 27-47.

Nayar, Pramod K. "Posthumanism, Informatics, and the Body." In Virtual Worlds: Culture and Politics in the Age of Cybertechnology. Sage, 2004, 217-223.

Schmor, John Brockway. "Confessional Performance: Postmodern Culture in Recent American Theatre." Journal of Dramatic Theory and Criticism 9.1 (1994): 157-174.

Danny Hoch, "Towards A Hip-Hop Aesthetics: A Manifesto for the Hip-Hop Arts Movement" (2006). Web. 5 Apr. 2014.

Sedef Arat-Koc. "Feature-Hot Potato: Imperial Wars or Benevolent Interventions? Reflections on 'Global Feminism' Post September 11th." Atlantis: Critical Studies in Gender, Culture & Social Justice 26.2 (2002): 53-65.

Cheng, Meiling. "A Hetero-locus in Process." In In Other Los Angeleses: Multicentric Performance Art. University of California Press, 2002, 174-233.

Schneider, Rebecca. "Holly Hughes: Polymorphous Perversity and the Lesbian Scientist (An Interview)." In C. Martin, ed. A Sourcebook of Feminist Theatre and Performance. Routledge, 1996, 239-253.

Big Dance – Official Site – Big Dance [Founded by the Mayor of London]. Web. 9 May 2014.

Description of Grading Criteria and Assessment of Assignments

The evaluation of your course performance will include your participation, your eagerness to be involved in the class activities, and the quality of your contribution, performance and written works. You will fail the class if you only come for the mid-term and final exams without fulfilling all other requirements.

There will be three sets of written assignments, one performance assignment, and two scheduled essay examinations. You will be graded for the level of your understanding, the ingenuity of your plan, the coherence of your organization, and the soundness of your argument. The evaluation includes your ability to support the analysis and interpretation with specific examples from the plays and the skills with which you synthesize different ideas from lecture, research, presentation, and discussion. Originality as well as diligence will be rewarded.

Your are strongly urged to read the texts required for each class before the lecture, so that you may contribute sensibly to class discussions. Please bring your copy of the relevant texts to each class. Be prepared that the Professor might call you to read selected scenes in class. Your willingness to serve as a volunteer reader will count favorably toward your "Participation" grade. All written assignments should be typed and double-spaced.

I. Participation (10%)

The participation grade is not guaranteed by mere attendance. It's evaluated in two parts.

• The first part is a reward/discipline section for class behavior. (3%)

You will earn up to 3% of the participation grade for this section if you behave as a responsible citizen of the class. If you disrupt the class order, you will lose 10 points with every written warning from the Professor. In addition, unexplained absence from the class will adversely affect your participation grade. You lose 6 points with an unexcused absence and 3 points with an excused absence.

• The second part of the participation grade is decided by your intellectual engagement.

You may earn up to 7% of the participation grade by your active participation in class discussion and in-class projects. Your efforts to engage in the on-going process of learning and thinking in class will be valued as much as the quality of your participation. Courage, discipline, determination, and the adventurous spirit will speak well for you in this class.

II. Critical Commentaries and Creative Responses (30%; 15% for each set)

For each play studied in our course, you are required to bring in one oral topic in response to the reading for in-class discussions. In addition, you will develop selected topics into critical commentaries or creative interpretations, collect these responses in a typewritten format and turn them in when they are due. In this semester, you will do two sets of these responses; each set with four entries.

These commentaries/responses may be composed of a set of provocative questions linked into a thematic paragraph, a series of developed ideas, analytical paragraphs, drawings, images, collages with notes, poems, plays, journals, and photo essays. Each entry should be one to two pages. The most important criterion is that the commentary/response is engaging and substantial and that it may provoke deeper questioning of the issues under investigation.

III. Solo or Ensemble Presentation and Essay Statement: 20%

You are required to do either a solo project or a collaborative project for the semester. Providing that we have enough time, you are allowed to do more than one presentation to increase your participation grade.

There will be six solo presentation/ensemble performance slots for the whole semester, roughly corresponding to the units of topics that we are exploring. You should sign up in advance which slot and what kind of project (solo or collaborative) that you plan to do. If you want to change your plan, you must do so at least a week in advance. Consult the Professor or Assistant Instructor for the signing sheet.

Both types of presentations are regarded as performances, supplemented by critical components. An individual presentation consists of two parts: a live performance and an artist/presenter's critical statement. The live performance part should last about 5 to 8 minutes; the written analytical statement may range from 1 paragraph to 1 page. An ensemble performance also includes two parts: a live ensemble performance and an analytical paper written collaboratively by the group. The live performance part should last less than 12 minutes; the collaborative paper may range from 2 paragraphs to 2 pages. As a rule, an ensemble should include no more than three members. If your project has special requirements that need more than three participants, you may clear the situation in advance with the Professor.

These projects can be either academic or creative, or both. It's your choice to design the format and direction of your presentation. You can perform as a commentator, a theatre student, or a dramatic character, etc. in your solo or ensemble work. Remember: a project's duration has little to do with its quality—longer doesn't make it better!

You will receive an individual grade for your solo project. Your will receive a group grade for the ensemble project—the same grade for each member of the ensemble.

IV. Mid-Term Essay Exam (10%) and Final Essay Exam (10%)

You will take one midterm and one final essay examinations. The final examination must be taken at its scheduled time. According to the USC policy, the final examination cannot be given at any other time unless a student is suffering from illness or there is a death in the family or some other critical emergency. These excuses must be formally documented. These two exams are open-book, open-channeled exams consisting solely of comprehensive essay questions. Please bring your laptops to the classroom for these exams. USC students can sign out laptop computers from technological labs located at GFS and THH for class use.

V. Final Project (20%; 6-8 pages)

This assignment aims to train your research and analytical ability. Thus, you have to draw at least two outside critical sources, in addition to the references made from the original text. You lose "5 points" for every missing source. A minimum of 6 pages is required for the paper. You lose "5 points" for each page less than the minimum requirement. Please consult The Chicago Manual of Style or the MLA Handbook for Writers of Research Papers for the editorial format. Be sure to document your sources properly.

Option 1--Critical Paper:

The critical paper will deal with one of the plays or topics discussed during the semester. Choose the subject that interests you the most, focus on a particular thesis, and develop your own interpretation based on a close reading of the play and an examination of other critical sources. You have to carefully document your sources and present a synthesis of your discoveries. The objective of the paper is to demonstrate your analytical insight, your skill at formulating an argument, and your ability to incorporate examples from the play with critical research.

Option 2--Dramaturgical Essay:

Encyclopedic in its orientation, the dramaturgical essay will deal with one of the performance texts or plays covered during the semester. It will introduce the artist's life and works, offer a detailed critical analysis of the particular play that you recommend for a new production, explain the reasons for your recommendation, survey at least two past productions, and describe your own particular version of production. The purpose of the dramaturgical essay is to inform your reader about the playwright, the play, and the broader contexts, to clarify your individual approach to the play, and to impress upon your reader that the production is worth seeing.

Grading Scale for SDA:

A indicates work of excellent quality; B of good quality; C of average quality; D of below average quality; and F indicates inadequate work.

All assignments and presentations will be graded on a percentage (100 points) scale system, which will then be converted into a final letter grade.

A+: 100-98; A: 97-94; A-: 93-90; B+: 89-87; B: 86-84; B-: 83-80;

C+: 79-77; C: 76-74; C-: 73-70; D+: 69-67; D: 66-64; D-: 63-60.

Assignment Submission Policy

A preferred method of assignment submission is an electronic copy emailed to meilingc@usc.edu, paired with a hard copy given to the professor on the due date. Check the course schedule for various assignment due dates. Without prior extension approved by the professor, no late assignment will be accepted.

Additional Policies

No cell-phone usage and distracting Internet browsing are allowed inside the classroom.

Final Examination Date:

The final examination for this course will take place on the date set by the University.

Statement for Students with Disabilities

Any student requesting academic accommodations based on a disability is required to register with Disability Services and Programs (DSP) each semester. A letter of verification for approved accommodations can be obtained from DSP. Please be sure the letter is delivered to the professor as early in the semester as possible. DSP is located in STU 301 and is open 8:30 a.m.–5:00 p.m., Monday through Friday. DSP contact: , (213) 740-0776 (Phone), (213) 740-6948 (TDD only), (213) 740-8216 (FAX) ability@usc.edu.

Statement on Academic Integrity

USC seeks to maintain an optimal learning environment. General principles of academic honesty include the concept of respect for the intellectual property of others, the expectation that individual work will be submitted unless otherwise allowed by an instructor, and the obligations both to protect one’s own academic work from misuse by others as well as to avoid using another’s work as one’s own. All students are expected to understand and abide by these principles. Student papers suspected of containing plagiarized material (the unacknowledged or inappropriate use of another's ideas, wording, or images) will be verified for authenticity through turn-it-, an Internet service subscribed by USC. SCampus, the Student Guidebook, (usc.edu/scampus or ) contains the University Student Conduct Code (see University Governance, Section 11.00), while the recommended sanctions are located in Appendix A.

Emergency Preparedness/Course Continuity in a Crisis

In case of a declared emergency if travel to campus is not feasible, USC executive leadership will announce an electronic way for instructors to teach students in their residence halls or homes using a combination of Blackboard, teleconferencing, and other technologies.

WEEKLY SCHEDULES

M 8/25 Introduction. Identity; Diversity; Performance; Glocalization; Citizenship. Politics; the Mass Media; Commodification.

Live performance vs. mediated performance.

Read: Thematic paragraphs in this syllabus.

Lyrics from the selected songs.*

View: YouTube: Janis Ian, At Seventeen (Live 1976)—5:00

Queen Latifah – Ladies First feat. Monie Love [3:55]

Lady Gaga-Bad Romance Official Music Video with Lyrics on Screen [2009] 5:08.

Today Now! By The Onion, Hot New Relationship Book Warns Women: "Wake Up! He's a Shapeshifter" [2:51]

Ref: Arjun Appadurai, "Disuncture and Difference in the Global Cultural Economy," in Modernity at Large (2003 [1996]).

W 8/27 Identity Performances at a "postracial" and "postgender" moment.

Read: Holland Cotter, "The Topic Is Race; the Art Is Fearless," The New York Times (2008).*

Jack Halberstam, "Going Gaga"; "Gaga Feminism for Beginners."*

M 9/1 Labor Day Holiday. No Class.

W 9/3 Posthuman Identities. Technological Simulation.

Read: "Prologue," in N. Katherine Hayles, How We Became Posthuman (1999), xi-xiv.*

Ref: Pramod K. Nayar, "Posthumanism, Informatics, and the Body," in Virtual Worlds, 217-223.*

M 9/8 Laughter as Social Therapy: Satirical Humorists. Take One.

Read: Beatrice Herford; Jackie "Moms" Mabley; Ruth Draper in Extreme Exposure.

View: YouTube: Good Old Days--Moms Mabley [4:23]

MOMS MABLEY – IT'S YOUR THING. LIVE TV PERFORMANCE 1970 [1:24]

British Drama League: American Speech: "A Society Woman," [spoken by Ruth Draper] [4:19]

W 9/10 Laughter as Social Therapy: Satirical Humorists. Take Two.

Read: Brother Theodore; Lenny Bruce in Extreme Exposure.

View: YouTube: Brother Theodore – Monologue 1 [1:52]

Brother Theodore - Food Sermon [9:42].

Lenny Bruce on Stage Just Before He Died [5:15].

Lenny--Lenny Bruce hard words [Dustin Hoffman portraying Bruce] [1:56].

M 9/15 SEP #1 (Solo or Ensemble Presentation): Pop Personas; Posthuman Avatars; Satirical Humorists.

W 9/17 Tragi-Comic Testimonies. Take One.

Read: Reno, in Extreme Exposure.

Simi Horwitz. "A newly ambiguous act. (Face to Face - Reno)." Back Stage (3 May 2002).*

View: Reno-Rebel without a Pause [LVYDVD 4280]

M 9/22 Tragi-Comic Testimonies. Take Two.

L. Manning: "There is so much living to be done in the absence of light."

Read: Carrie Sandahl, "Black Man, Blind Man: Disability Identity Politics and Performance," Theatre Journal (2004).*

View: YouTube: Blind Man: Lynn Manning's Story [2:54]

Listen: Lynn Manning, Weights: One Blind Man's Journey (2001).

W 9/24 Theatrical Mimics: Embodying Others as Self-Expansion. Take One.

Read: Whoopi Goldberg in Extreme Exposure.

View: YouTube: Whoopi Goldberg Direct from Broadway 1985 [selections]

Whoopi 02 Surfer girl totally PG [8:12]

Whoopi 03 Little Girl [7:15]

Whoopie Goldberg -"Back to Braodway" Stand Up [9:56].

Ref: John Brockway Schmor, "Confessional Performance: Postmodern Culture in Recent American Theatre." Journal of Dramatic Theory and Criticism 9.1 (1994): 157-174.*

M 9/29 Embodying Others as Self-Expansion. Take Two.

Read: Eric Bogosian in Extreme Exposure.

View: YouTube: Harmonius, performed by Eric Bogosian [4:00].

Eric Bogosian "Medicine" (1994) [4:17].

Molecules [6:01].

Eric Bogosian – Sex, Drugs, Rock & Roll [1:42:21—from 17:43 on— character transitions]

W 10/1 SEP #2: Self-Witnessing; Theatrical Mimics.

DUE: The First Set of Comments (Select 4 Entries from Ian to Bogosian)

M 10/6 Enacting Hip Hop Identities. Generation Rap. Danny Hoch; Sarah Jones.

Read: Danny Hoch in Extreme Exposure.

View: Some People [LVYVID 2058]

YouTube: Danny Hoch – Corner Talk, September on Def Jam Poetry [4:53]

Ref: Danny Hoch, "Towards A Hip-Hop Aesthetics: A Manifesto for the Hip-Hop Arts Movement."*

W 10/8 Performing Multiple Selves: Sarah Jones.

Read: Charles Isherwood, "The Voices Inside the Border but Outside the Margins." The New York Times. 27 January 2006.*

Sarah Jones – Artist's Website: "About": "Sarah has many characters. Here are a few . . . in their own words."

View: YouTube: Def Poetry: Sarah Jones, 'Your Revolution' [3:16].

Sarah Jones: Artist Website – Videos

The Moth [12:11]

"Sarah at TED in 2009 as a One-Woman Global Village" -- One Woman, Eight Hilarious Characters [21:00]

Sarah Jones as Rashid [5:57]

Sarah Jones as Bella, WMC Celebrates Gloria Steinem [3:11]

M 10/13 SEP #3: Sampled Characters; Spoken Word Theatre

W 10/15 Midterm Exam.

M 10/20 Feminist/Womanist Politics; Aesthetics; Activism.

Read: Moira Roth, "The Amazing Decade: Women and Performance Art in America," in The Amazing Decade (1983), 14-41.*

Sojourner Truth, "Ain't I a Woman?" (1851).*

Alice Walker, "Womanist," in In Search of Our Mother's Gardens (1983), xi-xii.*

Audre Lorde, "Age, Race, Class, and Sex: Women Redefining Difference," in Sister Outsider (1984), 114-123.*

Ellen Pence, "Racism--A White Issue," in All the Woman Are White, All the Blacks Are Men, But Some of Us Are Brave (1982), 45-47.*

View: W.A.R.: !Women Art Revolution (2010), a documentary by Lynn Hershman-Leeson. [AFADVD 1011]

W 10/22 The Matrix of Identities.

Read: Cherríe Moraga, "La Güera" (27-34); and

Gloria Anzaldúa, "La Prieta" (198-209), in Moraga and Anzaldúa, eds., This Bridge Called My Back (1983).*

Marga Gomez in Extreme Exposure.

View: Marga Gomez, Christmas with Cochina [4:24]

Marga Gomez: My Dad's Army Story [2:38]

Marga Gomez: Bagina [5:34]

M 10/27 Glocal Feminist, Gender-critical, and Queer performance Practices

Read: Oriana Fox, – Timeline.

Tom Coash, "Monologue: Intisar," an excerpt from Veils.*

View: PPT slides: Feminist Art and Performances.

Ref: Sedef Arat-Koc. "Feature-Hot Potato: Imperial Wars or Benevolent Interventions? Reflections on 'Global Feminism' Post September 11th." Atlantis: Critical Studies in Gender, Culture & Social Justice 26.2 (2002): 53-65.

W 10/29 SEP #4: Feminist/Womanist/Gender-critical Identities; Dissecting Prejudices and Stereotypes.

M 11/3 Breaking the Silence.

Read: Wakako Yamauchi, 12-1-A (1992), in The Politics of Life (1993), 45-100.*

W 11/5 Voicing Traumas.

Read: Dawn Akemi Saito, Ha, in Extreme Exposure.

M 11/10 Dispelling Internalized Demons.

Read: Dael Orlandersmith, Yellowman (2002).

W 11/12 SEP #5: Reconstructing Identities Out of Traumatic Memories.

M 11/17 Performing Genders, Sexualities: Queers, Mutables, and Vanguards.

Read: Meiling Cheng, "Self Performance."*

Luis Alfaro in Extreme Exposure.

Guest Lecture: Luis Alfaro (if available).

Ref: Meiling Cheng, "A Hetero-locus in Process," in In Other Los Angeleses: Multicentric Performance Art (2002), 174-233.*

W 11/19 Queer Fantasia and Lesbian Noir.

Read: Holly Hughes, Dress Suit to Hire (1988), in C. Martin, ed., A Sourcebook of Feminist Theatre and Performance (1996), 267-292.*

Holden, Stephen. "Theater: 'Dress Suit'," The New York Times (3 Feb. 1988).*

View: Excerpts from Dress Suits to Hire (by Split Britches, 1993)

Ref. Rebecca Schneider, "Holly Hughes: Polymorphous Perversity and the Lesbian Scientist (An Interview)," in A Sourcebook of Feminist Theatre and Performance (1996), 239-53*

M 11/24 Liberation for Transgender, Transsexual, and Intersexed Bodies.

Read: Ken Cooper, "Practice with Transgendered Youth and Their Families," Journal of Gay and Lesbian Social Services 11.3 (2000):111-29.*

Ethan Zimmerman, "Transie," in J. Nestle, et. al., eds., Gender Queer (2002), 190-193.*

Michael Du Plessis, "Hormones, Germs, and Cancer (This Is Not An Autobiography)," in Narrativity 3 (2002).*

W 11/26 Thanksgiving holidays (26-29 Nov.)

M 12/1 SEP #6: The Politics of Gender + Race + Class + Ethnicity + Sexuality + Ability + GeoPolitical + Etc. Differences.

W 12/3 Performing Site-Specific Cosmopolitan Flash Mob Non-identities – Big World Dance (Africa, Europe, Australasia, Asia, Americas).

Read: Luca Silvestrini. "Crossroads." Community Dance Magazine: Focus on Site-specific dance practice (Winter 2013).*

Minns, Nicholas. "Protein: xoxo." Writing about dance: Personal musings about dance and other related topics. Blog (5 April 2013).*

View: 'Crossroads,' presented by Luca Silvestrini's Protein [at the Old Royal Naval College, Greenwich, in June 2011] [9:28]

Work-Life: The Making of Community: Luca Silvestrini [in Singapore] [4:31]

Clip from (In)visible Dancing Finale by Luca Silvestrini's Protein, Dublin Dance Festival 2012 [4:46]

Big World Dance 2010 [Africa, Europe, Australasia, Asia, Americas], a YouTube Channel by Southbank Centre.

Ref: (In)visible Dancing – The Documentary (Kingston upon Thames 2012) [20:39]

Big Dance – Official Site – Big Dance: UK's largest festival of dance participation and performance.

DUE: The Second Set of Reading Notes. (4 Entries: Select from Hoch to Zimmerman)

W 12/10 DUE: The Final Project.

M 12/15 Final Examination (2-4PM)

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USCSchool of Dramatic Arts

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