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Article Excerpt
Performance is one of the busiest critical terms today: long having burst beyond its meanings as mere entertainment or art-form, it now appears in a great number of fields, in the increasing sense of the "performed" in file humanities and social sciences, in the arts, and in contemporary theory. In so many ways performance, as a site of circulating representational practices and theatricality, in society, perfectly suits a poststructural, liminal world of shifting boundaries, of competing discourses and play of meanings. From Erving Goffman's performance in everyday life and Victor Turner's social drama in the 1950s, to Judith Buffer's performative gender in the 1990s, the metaphor of performance has effectively given context to numerous projects theorizing human activity, under a variety of terms such as enactment, play, event, tactic, and production. Within the discipline of theatre itself there has been a strong movement to go beyond traditional parameters--as academics in particular reimagine their field to embrace an open range of practices: recent theme issues of the journal Performance Research, for example, have included topics of cooking, animals, tourism, and memory.
Why is this? Performance, in its inevitable association with theatre in the western world, and certainly within Canada, brings with it a built-in...
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More articles from Textual Studies in Canada
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