Marketing Fundamentals - BUAD 307



THTR 406 "Theatre on the Edge"

Fall 2016 (63008R)—Monday/Wednesday—12-1:50PM

Location: GFS 114

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

This course explores the art of theatre at the edge of possibilities. The curriculum proceeds through a series of interrelated themes to examine how the time-based art of theatre intersects with other art forms and surpasses its preexisting boundaries. Highlighting the concept of the edge as a margin, an ecotone, and a membrane, our inquiry investigates various ways in which the edge fosters performing artists' iconoclastic ventures and sustains their constant struggles to evolve beyond the limit of imagination. The course guides the participants to critique, curate, and create theatre on the edge.

Per the Professor's own research strength, the course will emphasize analytical literacy in reading contemporary visual cultures and will intermittently feature artworks from Chinese contemporary time-based art, among other global live art modes.

Learning Objectives

"Theatre on the Edge" trains the students to acquire a higher level of creative curiosity, intellectual agility, and experiential sophistication through the appreciation of artistic precedents and the experimental production of comparable artworks. The course taps into the rich legacies of the 20th-century avant-garde art via contemporary classics and the abundance of multisensory information available via the Internet for performative explorations. Our seminar-style bi-weekly encounters encourage the participants to study, scout, and source inventive stimuli for the glocal databanks of theatrical innovation, sociopolitical sensitivity, and critical inquiry.

Required Readings and Supplementary Materials

I. I have placed all the texts marked with * on reserve at Leavey or through the Ares electronic reservation system.

2. All the texts available as the USC e-resource pdf, or downloadable from the Internet as open source, may be accessed via Blackboard. These texts are for intra-class sharing only, not for public distribution. I compile them on BB for your convenience and my educational purpose.

3. Since almost all of the required texts are available via the USC reserve system and downloadable from the Internet, I did not make a Course Reader, nor order any book through the USC Bookstore. I encourage bring your laptop, or your hard copies of the relevant texts to each class. Be prepared that the Professor may call on you to read selected scenes and interpret particular passages in class.

4. Explanation of the sign system used in this syllabus:

Read: Read the selected texts on your own before our class meeting to contribute sensibly to our class discussions.

View: View the selected videos as much as you can to prepare for further analysis in class. We will also view excerpts together in class.

Ref: These reference texts are optional; they are meant to help with your further research.

Cf: Comparable artists and subject matter to expand your knowledge about ToE.

SD+SC = Search and destroy; Search and create—a standing challenge! Curate and produce your own comparable artworks and share them with us in class and on our ToE FB wall.

Description of Grading Criteria and Assessment of Assignments

The evaluation of your course performance will include your attendance, your eagerness to be involved in the class activities, and the quality of your creative efforts, written works and interactive responses. You will fail the class if you only turn in the written assignments without fulfilling other requirements.

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

Note:

(1) The written assignments should be typed and double-spaced. The margins of your papers should be kept at 1 inch; the size of your letters should not exceed 12-point font.

(2) According to the School of Dramatic Arts policy, no late paper will be accepted, unless permission is granted prior to the due date.

(3) Intellectual volunteerism: Your willingness to serve as a volunteer reader and discussant will count favorably toward your Participation grade.

I. Participation (15 %)

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 and attendance records. (5%)

You will earn up to 5% 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 10 points with an unexcused absence.

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

You may earn up to 10% of the participation grade by your active participation in class discussion and in-class projects. Your efforts to engage in the ongoing process of learning and thinking in class will be valued as much as the quality of your participation. Courage, discipline, determination, thoughtfulness, and the adventurous spirit will speak well for you in this class.

II. Critical Commentaries and Creative Responses (40%; 20% for each set)

For each class, you are required to prepare one discussion topic in response to the readings. Better yet, for extra credit, you can adopt a text or adopt a video to do a brief presentation on it in class. As formal responses to this assignment, you will select four topics to write critical commentaries/creative responses and then collect these topics/comments/responses in a typewritten or multimedia format to turn them in when they are due, twice during the semester. In your response, you may choose to focus on a particular text or to cover all the texts required for that class. Each entry should be one to two pages or their equivalents.

These comments or creative responses may be simple but provocative question-paragraphs; a series of ideas, illustrated by drawings and images; thesis statements; video postcards; intermedial projects; or conceptual/photographic artworks. The most important criterion is that the comment/response is engaging and imaginative and that it may provoke deeper questioning of the issues under investigation.

III. Class Presentations: Solo Performance or Collaborative Performance (25%)

You are required to do either one solo project or one collaborative project for the semester.

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 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 a summary of the performance score. 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 a summary of the performance score, conceived collaboratively by the group. The live performance part should last less than 12 minutes; the collaborative paper may range from 1 paragraph to 1 page. 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, a dramatic character, a choreographer, and a video-maker, 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. Final Project (20%; 6 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 selected text 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 8/22 Introduction. Theatricality. Edge. Margin. Limit. Avant-Garde. Ecotone. Membrane. Multicentricity. Beyond. Participants' Initiation Rituals.

View: YouTube: Societas Raffaello Sanzio: The Cryonic Chants (2005) [3:54],

Matthew Barney—The Order from Cremaster (2002) [7:39],

Lady Gaga – Telephone ft Beyoncé (c. 2010) [9:30],

Annoying Orange: Lady Pasta (c. 2010) [3:01],

W 8/24 Everyday ToE: Supple Slopes of Epiphanies.

Read: Cheng and Cody, "Reading Performance: A Physiognomy" in Cheng and Cody, ed. Reading Contemporary Performance/RCP (Routledge, 2016), 1-7*

Cody and Cheng, “Theatricality Across Genres” in RCP, 8-10.

View: Hamilton, (aleph • video) (1992),



YouTube: Ann Hamilton [Art 21] (2013) [15:01],



Curate: Bring one sample of your “Everyday ToE”

M 8/29 Conceptual Wellsprings of the American Avant-Garde. Continuous Reverberations.

Read: Aaronson, "Theories and Foundations" in A. Aronson, American Avant-Garde Theatre: A History (2000).*

Sack, “Romeo Castellucci’s Hey Girl!” in RCP, 75-77.

View: YouTube: Romeo Castellucci – HEY GIRL! - (excerpt) [5:48],

Romeo Castelluci / Inferno [4:36],

A Conversation with Matthew Barney Part 1 [10:00],



Ref: Matthew Barney, Cremaster Cycle Documentary.

2 Societas Raffaello Sanzio Divina Commedia Inferno meeting with Chiara Guidi.

W 8/31 Conceptual Wellsprings of the American Avant-Garde. (cont.)

Discussions of various options for our class assignments and substitute projects.

Find your niches at the edge.

M 9/5 Labor Day, University Holiday.

W 9/7 Theatre as a Laboratory for Pataphysics and Metaphysics: Alfred Jarry and Antonin Artaud.

Read: Jarry, King Ubu Roi and Artaud, Jet of Blood in M. Benedikt and G. Wellwarth, Modern French Theatre-The Avant-Garde, Dada, and Surrealism: An Anthology of Plays (1964).*

SD+SC = Search and destroy; Search and create—a standing challenge!

View: YouTube: Ubú Rey, by Teatro Gayumba, Rep. Dominicana (2007), [2:37],

Ubû Rey, by Estudio Diana (2010) [2.01],

“What is Ubu Roi?” – The Jarry School for Wayward Girls (2014),



Ignite's Jet of Blood (2005), by Ignite at Theatreworks, shown at Adelaide Fringe (2007) [3:25],

Theatre of Cruelty (Influences of), Chris Walker Films (2007) [5:49]

Ref. YouTube: Ubu roi – Jean-Christophe Averty (1965) 6/8.

Ubu Ingesting (Adult Content), by Justin Sane (2010) [4:10]

Cf. Jan Lauwers and Needcompany, founded in 1986 by Lauwers and Grace Ellen Barkey.

M 9/12 Theatre as the Site of Synthetic Dynamism: Italian Futurism. Technology-sourced ToE.

Read: Marinetti, Settimelli, and Corra, "The Futurist Synthetic Theatre";

Corra and Settimelli, Negative Act/Atto Negativo;

Corra and Settimelli, Old Age/Passatismo;

Corradini and Corra, Alternation of Character/Alternazione di Carattere;

Francesco Cangiullo, There Is No Dog/Non c'è un Cane: Synthesis of Night;

Francesco Cangiullo, Vowel Refrains/Stornelli Vocali: Verses of Life--Music of Death;

Francesco Cangiullo, Lights!/Luce! in M. Kirby and V. N. Kirby, eds. Futurist Performance (1971).*

Auslander, “Cybernetics,” in RCP, 194-95.

View: YouTube: A Brief Guide to Futurist Art and Futurism, by Alex Fox [6:40],

Zang Tumb Tumb-Tribute to Marinetti [2:58],

Giacomo Balla/Luigi Russolo – Macchina Tipografica [3:14],

Machinima Futurista, dir. J. Vandagriff (2008) [8:19],

Ref. Music for 16 Futurist Noise Intoners (2009).

Serata Futurista Machinima, via Second Life (2007).

Cf. Nayar, “Performing Surveillance Camera Art,” in RCP, 53-55.

W 9/14 S/EP#1: Pataphysicians, Cruel Auteurs, and Futurists.

SD+SC flex workshops

M 9/19 Performance of Antiart: Dada; Visual Decomposition; Cognitive Drift.

Read: Rudolf E. Kuenzli, "Survey," found online in "DADA Companion."

Hugo Ball, "Dada Manifesto" (1916), Wikisource.*

Tristan Tzara, "Dada Manifesto" (1918) in M. Gordon, ed. Dada Performance (1987).*

Stiles, “Anti-Art,” in RCP, 185-86.

View: YouTube: Dada and Cabaret Voltaire [5:01],

Dada Art Movement/Tristan Tzara, no attribution [5:39],

Dada A 5 Minute History, by Kathy McHoes (2010) [5:00],

Dada Manifesto 1918, posted by Byron Caplan [5:02],



Dada Suicide (2010), by Elise Golgowski (ToE, G2) [2:53]

Ref. Tzara, The Gas Heart in Modern French Theatre.*

YouTube: Germany – DADA: An Alphabet of German Dadaism, dir. Helmut Herbst (1968) (1-3). [c. 30 min.]

DADA Ultimate Anthology [face A] [55:03]

Cf. Stiles, “Destruction Art,” in RCP, 197-198.

W 9/21 Theatre as Architectonic Transfiguration: The Bauhaus: Design-made; Craft-formed; Technological Art.

Guest lecture by Professor Tom Ontiveros.

Read: Schlemmer, "Man and Art Figure" in W. Gropius and A. Wensinger, eds., The Theatre of the Bauhaus (1996).*

Study of Bauhaus = function, light, simplicity, craftsmanship, form.

View: YouTube: Modernism: Bauhaus [1:41],

ABCs of the Bauhaus [1:17],

Bauhaus: A History and Its Legacy, by Brian Douglas Hayes [8:38],

Das Triadische Ballet. Best Quality! (A Recreation of Oskar Schlemmer's Triadischem Ballett-Triadic Ballet) [30:23],

Ref. History of Design: Art Nouveau, Art Deco, Constructivism, Bauhaus, Swiss, Modernism, by Hall Groat II [15:02]

Cf. The beginning – STRANDBEESTEN, by Alexander Schlichter, a documentary about the Dutch artist Theo Jansen), on vimeo [2:16]

M 9/26 Theatre as Concepts in Action: Duchamp's Readymades; Performative Framing; Found Objects and Personas.

Read: Duchamp, "The Richard Mutt Case (1917)"; "Apropos of 'Readymades" (1961)" in K. Stiles and M. Selz, Theories and Documents of Contemporary Art (c. 1996).*

Hoefer, “Readymade,” in RCP, 256-257.

Hodges Persley, “Sampling,” in RCP, 260-261.

View: YouTube: Marcel Duchamp clip from The Shock of the New (1982) [8:01],

Marcel Duchamp-Archive Footage [3:50] [for readymades],

Duchamp "Fountain" [6:11],

Ref. Marcel Duchamp 1968 BBC Interview.

Marcel Duchamp, The Large Glass: A Conversation with Dr. Beth Harris and Dr. Steven Zucker.

W 9/28 PPt lecture on Expanded Readymades: Appropriation Art + Chinese Documentaryworks + Performance Re-enactments.

View: Matthew Barney VS Madonna (2007), by Mais Plutôt [3:22],

Split Screen: Beyonce "Countdown" vs Anne Teresa De Keermaeker (2011) [3:44],

Ref. Takemoto, “Memoirs of Björk-Geisha,” in RCP, 115-117.

Cheng, “Keepsake Morsels,” in Beijing Xingwei (2013).

Cf. Schneider, “Cindy Sherman’s Real Fakery,” in RCP, 236-238.

M 10/3 Play as Verbal Geography: Gertrude Stein.

Read: Stein, "Plays," in Last Operas and Plays (1995).*

Stein, Four Saints in Three Acts.*

Holzapfel, “Landscape Theatre,” in RCP, 43-44.

View: YouTube: Mini BIO – Gertrude Stein [2:52],

Paris Was A Woman - Gertrude Stein and Alice B. Toklas [1:51],



Gertrude Stein reads If I Told Him a Completed Portrait of Picasso [3:39],

Four Saints in Three Acts, 1934 (2012) [1:46],

Virgil Thomson and Luciano Chessa's Four Saints in Three Acts with Opera Parallèle (2011) [5:58],

Mark Morris Four Saints in Three Acts [Overture](2006) [1:48],



Bike Traffick (2010), by Elise Golgowski (ToE, G2) [2:05]

Ref. The Steins Collect: Matisse, Picasso, and the Parisian Avant-Garde, The Met (2012)

Cf. Suzan-Lori Parks, The Death of the Last Black Man in the Whole Entire World (1989-1992).

W 10/5 S/EP#2: Dada; Duchamp; the Bauhaus; Stein; Expanded Readymades; Extreme Playing.

M 10/10 Midterm Review: Summing-up, Catching-up Day.

Presentations of Ongoing Commentaries.

DUE: The First Set of Ongoing Commentaries (4 selective entries).

W 10/12 Theatre as Living Collages of Silences and Sounds.

Read: Cage, "Experimental Music." (1958) [e-resource pdf download]

Find and read your one random story at John Cage: Indeterminacy,

Henkes, “Experimental Music,” in RCP, 60-61.

View: YouTube: John Cage about Silence [4:18],

John Cage, 4'33" for piano (1952), performed by David Tudor [5:41],

John Cage, Water Walk (1960) [9:23],

Ref: American Masters Series from PBS: John Cage: I Have Nothing to Say and I Am Saying It (1990), dir. Allan Miller.

Cf. In the Ocean – A Film About the Classical Avant Garde, a film dir. by Frank Scheffer, featuring John Cage, Steve Reich, Frank Zappa, Philip Glass, Julia Wolfe, Michael Gordon David Lang, Milton Babbitt, et al.

M 10/17 Theatre as Multimedia Cloning: Laurie Anderson-Art to Pop.

Read: Gordon, "Laurie Anderson: Performance Artist," TDR 24.2 (June 1980): 51-54.*

Anderson, "Americans on the Move: Parts 1 & 2," TDR 24.2 (June 1980): 54-64.*

Cheng, Performance Review, "The Nerve Bible by Laurie Anderson," Theatre Journal 47.3 (Oct. 1995): 409-411.*

View: YouTube: Laurie Anderson and Her Musical Head [0:30],

LAURIE ANDERSON – On Performance, ART/new york No. 54 (excerpt) (2001; about 1998 exhibition) [4:33],

Laurie Anderson and her clone (Part 4) [1:23],

Laurie Anderson – About Creativity – 2002 [2:27]



Animals [from Laurie Anderson’s Life on a String, dir. Steven Lippman (2001) [3:11],

Laurie Anderson/Only an Expert/Maybe If I Fall (2007) [8:40],

Cf. Björk-Pop to Art. Biophilia (2013).

W 10/19 S/EP#3: Experimental Music: Cage; Anderson, et.al.

View: Rat Race (2011), by Daniella Shevel (ToE G3), Monique Shevel, George Kemenes [7:22]

M 10/24 Theatre as Quotidian Thought Experiments: Fluxus.

Read: Kristine Stiles, "Fluxus," in RCP, 205-206.

Auslander, “Intermediality,” in RCP, 216-217.

Dick Higgins and Hannah Higgins, "Intermedia," in Leonardo (2001).*

View: “Yoko Ono, Paik, Vostell . . . Fluxus-Happening-Artists, 1990 [6:23],

"What is Fluxus?" commented by Allen Burkoff (p. 2012) [4:35],

The Fluxus Project, by Stephen Voyce (p. 2012) [5:45],

Alison Knowles discusses the Fluxkit (p. 2011) [3:53],

Yoko Ono – Cut Piece (1965) [9:19],

Drip Music- George Brecht (Fluxus) [1:58],

Charlotte Moorman and Nam June Paik "The Originale" [9:51],

Ref. Armstrong, "Fluxus and the Museum" in In the Spirit of Fluxus.*

Cf. Joseph Beuys-English Subtitles-How to Explain Pictures to a Dead Hare (1965).

Sanitation Art: Mierle Laderman Ukeles.

W 10/26 Theatre of Everyday Rituals and Play-centric Interactive Events: Happenings and Alternative Reality Games.

Read: Kaprow, "Untitled Guidelines for Happenings (1965)," in Theories and Documents of Contemporary Art.*

Allan Kaprow, "The Happenings Are Dead: Long Live the Happenings" (1967); "Nontheatrical Performance" (1976), in Kaprow, The Blurring of Art and Life, ed., Jeff Kelley, 59-65; 163-80.*

Sandford, “Happenings,” in RCP, 67-68.

Jeff Watson, "Reality Ends Here," in RCP, 240-241.*

View/Listen: Allan Kaprow – How to Make a Happening (1966) [24:51]

Ref. Schechner, “Play,” in RCP, 238-240.

Cf. Blue Man Group (1991- ), founded by Matt Goldman, Phil Stanton, and Chris Wink: Theatre as Interactive Pop Happenings.

Sleep No More (2011- ), initiated by the Punchdrunk company.

New Genre Public Art - Suzanne Lacy.

M 10/31 Theatre of Perception, Emotion, and Experience: Meredith Monk.

Read: Marranca, “Grace Notes: Meredith Monk’s Songs of Ascension,” in RCP, 61-63.

Meredith Monk with Joan Knight, "About Book of Days," in Deborah Jowitt, ed., Meredith Monk (1997): 156-163.*

View: Meredith Monk: Ellis Island, Book of Days (2007) [AFADVD697]

YouTube: Meredith Monk: Songs of Ascension (Ann Hamilton’s Tower, Oct. 2008), a video shot by Dyanna Taylor [9:40],

Meredith Monk—Documentary and Performance from Four American Composers by Peter Greenaway [excerpts from Dolman Music (2:29 on); Turtle Dreams (39:20 on), A Tale (50:38on)],

"Check-in Donation" and "The Boundary Line," by XIN YI (ToE, G3) [5:09] ;

Ref. Marc Robinson, "New Frequencies: Meredith Monk," Theatre 30.2 (Summer 2000): 44-57.*

Cf. Bill Viola, Cameras are Soul Keepers (2013)

W 11/2 S/EP#4: Conceptual Musicals; Nontheatrical Performances; Alternative Reality Plays; Theatre of Stillness and Movement.

M 11/7 Dance into Theatre into Dance: Pina Bausch.

Read: Hoghe and Tree, "The Theatre of Pina Bausch," in TDR 24.1 (March 1980): 63-74.*

Birringer, "Dance or We Are Lost: The Tanztheater of Pina Bausch," in RCP, 189-193.

View: YouTube: Dominique Mercy - Café Muller (c. 1978) [5:44],

Pina Bausch: Barbe Bleue (intégrale 1 sur 12) (c. 1977) [8:02],

Pina Bausch WALZER (c. 1982) [6:09],

Pina Bausch: Nelken, excerpt (c. 1982) [2:14],

Kontakthof – Pina Bausch (c. 1978) [2:53],

Arts.21/Dance Theater (p. 2009) [5:48],

Ref. Pina (2011), dir. Wim Wenders.

Cf. Jan Lauwers and Needcompany: Biennale Teatro 2015 – Jan Lauwers, “Europa” in Venice, 2015.

W 11/9 Theatre of Kinetic Sentience. Choreographic Objects. Extreme Dance. Contraption Ballet. Choreographing Carnal Prisms.

Read: Forsynth, “Choreographic Objects,”

Bell, “Puppet and Object Performance,” in RCP, 252-254.

View: William Forsythe, One flat thing reproduced 01/03, a film by Thierry De Mey, with original music by Thom Willems [9:15],

William Forsythe Discusses Synchronous Objects [6:08],

Single Space (1994), dance performance by Mehmet Sander, choreography by Dana Gonzales and Mehmet Sander, a film by Peter Etnoyer [3:29],

Mehmet Sander Dance Company, Controlled Space/Infinite Space [4:04],

Compagnie Marie Chouinard – bODY_rEMIX/gOLDBERG_vARIATIONS (2005) [10:14],

Dimitris Papaioannou-_Song of '99_-Human Thirst (1990) [4:00],

Dyo, Dimitris Papaioannou, airport [5:00],

Nowhere__2__Medea – D. Papaioannou [9:21],

Dimitris Papaioannou – 2 (2006) - _Funky Beep _Music Video [2:56],

PRIMAL MATTER –Athens Festival 2013/Trailer Compilation [5:44],

Ref: Garoian and Gaudelius, “Goat Island’s The Sea and Poison,” in RCP, 272-275.

Cf. "La Ribot Distinguida" Documentary from Luc Peter (English Subtitles) [1:03:11]

M 11/14 Theatre as the Edge between Being and Artifice: Tadeusz Kantor.

Read: Klossowicz, "Tadeusz Kantor's Journey," TDR 30.3 (Autumn 1986): 98-113.*

Kantor, "The Informel Theatre Definitions (Undated)," in A Journey Through Other Spaces (1993): 54-58.*

Fuchs, “Postdramatic Theater,” in RCP, 243-245.

View: YouTube: Tadeusz Kantor, Avant-Garde Theater [8:53],

Tadeusz Kantor – Wielopole, Wielopole (1980) [4:33],

Tadeusz Kantor-Umarla klasa (1977) [3:12],

Kanto La classe morta part 2 on THEATRO TV [5:27],

Kanto la classe morta Part 3 on THEATRO TV [6:52],

An Impossible Journey: Part One (2009) [6:04],

An Impossible Journey: Part Two (2009) [6:12],

Cf. Creating Physical Theatre – The Body in Performance (c. 2009).

Dance of Darkness (c. 1990), a video by Edin Velez.

W 11/16 S/EP#5: Kinetic Theatre of Vocality, Musicality, Spirituality, and Politics.

M 11/21 Theatre as Imagistic Gestalt: Robert Wilson.

Read: “Robert Wilson Biography”; "Robert Wilson on Movement"; "1. Have You Been Here Before 2. No This Is the First Time: An Evening with Robert Wilson." Pdf downloaded from Wilson's past artist website.

Marranca, “Theatre of Images,” in RCP, 269-270.

Cheng, Performance Reviews, "The Space That Is Filled with Time by Robert Wilson," in Theatre Journal 47.4 (Dec. 1995): 547-48.*

Khoshbin & Shattuck, "Robert Wilson Video Portraits – Overview," in Dissident Industries Inc, online.

View: Interview with Robert Wilson, 1980, mpeg [4:48],

Einstein on the Beach – The Changing Image of Opera (Part 1), (1984 BAM), documentary dir. Obenhaus (1985) [12:47],

The Black Rider (Magic Bullet)—Act I Part I [9:35],

The Black Rider (Magic Bullet)—Just the Right Bullet [3:17],

Shakespeares Sonette: Sonnet 29 (2009) [5:52; embedded with Deafman Glance],

Robert Wilson – Interview, by Isabel Capeloa Gil (2012, Lisbon) [17:53]

Interview from Robert Wilson, about Lady Gaga and her portraits (2013) [4:27],

Ref. Absolute Wilson, dir. Otto-Bernstein [AFADVD 709]

Cf. The Wooster Group: “Experimental Journey: Elizabeth LeCompte takes on Shakespeare,” The New Yorker (Oct. 8, 2007).

Cody, “The Wooster Group’s TO YOU, THE BIRDE! (Phèdre),” in RCP, 245-247.

W 11/23 Thanksgiving holidays (23-26 Nov.)

M 11/28 Performance as Sensorial Extremity: Marina Abramovic; Valie Export; Chris Burden; Stelarc; Orlan; Olivier de Sagazan; Ron Athey; Franko B; He Yunchang.

We do what we can day—eyes wide shut allowed.

Read: Stiles and O’Dell, “Bodies in Action,” in RCP, 265-267.

Carr, “Marina Abramovic’s Durational Opus,” in RCP, 24-26.

Cheng, “Extreme Performance,” in RCP, 63-65.

Adrian Searle, "How Performance Art Took Over," Guardian.co.uk (3 July 2012): online.*

View: YouTube: Relation in Time [2:28],

Expanding in Space – Marina Abramovic [6:17],

Marina Abramovic Meet Ulay. The artist is present. [4:36],

Valie Export [0:59],

Chris Burden_Shoot [1:53],

Stelarc – The Body is Obsolete – Contemporary Arts Media [3:49],

French artist Orlan: "Narcissism is important" [6:52],

Transfiguration - Performance Olivier de Sagazan (c. 2008) [9:23],

Ron Athey 'Body Art' [15:13],

"i miss you" (Franko B. at Tate Modern) [5:10],

Cf. Guillermo Gémez-Peña; Zhang Huan; Ai Weiwei; Kira O’Reilly; Janine Antoni; Yang Zhichao; Wang Chuyu.

Ref. Beijing Swings [AFADVD640]

If interested, find the following texts from Academia.edu and download them for free, while they last.

Cheng, Meiling. "Extreme Performance and Installation from China," TheatreForum (Summer 2006): 88-96.

Cheng, M. "Violent Capital: Zhu Yu on File," TDR 49.3 (2005): 58-77.

Cheng, M. "Down and Under, Up and Over: Animalworks by Sun Yuan and Peng Yu." Performance Paradigm #4 (June 2008): 1-42 (online).

DUE: The Second Set of Ongoing Commentaries (4 selective entries).

W 11/30 S/EP#6: Trans-Genre ToE Spectacles: Metaphysics, Corporeality, Virtuality, Multicentricity.

F 12/9 Final Exam Scheduled Date: 11-1PM. [Not the usual class time]

Search and Destroy; Research and Reconstruct.

Research Presentation Day: Share your findings.

DUE: The Final Project.

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USCSchool of Dramatic Arts

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