000			04246cam a22005054a 4500
001			muse87132
003			MdBmJHUP
005			20210127151749.0
006			m o d
007			cr||||||||nn|n
008			200721r20202013nyu o 00 0 eng d
020			_a9780615858968
035			_a(OCoLC)1176455017
040			_aMdBmJHUP _cMdBmJHUP
050		4	_aPN2122 _b.S56 2013
082	0		_a792.02/8 _223
100	1		_aSkantze, P. A., _d1957- _eauthor.
245	1	0	_aItinerant Spectator/Itinerant Spectacle _cP.A. Skantze.
264		1	_bProject Muse,
264		3	_bProject MUSE,
300			_a1 online resource (252 pages) : _billustrations
500			_aIssued as part of book collections on Project MUSE.
504			_aIncludes bibliographical references (pages 249-252).
505	0		_aIntroduction : weathered thresholds -- Satisfaction -- Sound -- Structures -- Senses -- States -- Epilogue.
506	0		_aOpen Access _fUnrestricted online access _2star
520			_aItinerant Spectator/Itinerant Spectacle moves across the landscape of European performance in the late 20th and early 21st centuries, recounting performance in circulation across national borders and across the itinerant bodies of spectators who travel to meet performances that travel. Itinerant Spectator/Itinerant Spectacle suggests spectating is a practice -- an act of interpretation engaged in more than simply receiving the affects of a performance, a companion practice to the making of performance. The work forms a part of Skantze's ongoing explorations of what she terms the 'epistemology of practice as research.' IS/IS theorizes spectating as a practice that extends beyond the theatre, as a practice of writing as recollecting (and recollecting as writing) at the center of what has been called "criticism." The book grounds spectatorship in the subjective, embodied, differenced practice of spectating not from a fixed location or standpoint but from a ground that constantly shifts, that is, from the ground of the roving positionalities of the "itinerate spectator." Following Walter Benjamin, for example, Skantze importantly adopts the privileges of the flaneur as a feminist and rather queer project, one that refuses to be tied to the minor position, to that of the impossible "flaneuse." The methodology of the book takes inspiration from the writings of W.G. Sebald and his employment of something Skantze describes as "a staging of memory," a way to offer the reader an example of how memory works in the midst of a description of a particular recollection. This construction invites the reader/participant to 'discover,' to 'remember' alongside the writer. Further, this methodology invites the reader to incorporate her/his own ideas and memories of the practice of spectating through an openness in the language of remembering and description. Individual sections of the book demonstrate spectating as itinerant 'on the job training' in various modes of reception. Topics include: the idea of reparation in performance about nations, the past and injustice; the power of sound and the intricacies of seeing/hearing performance in many languages; the architectural information absorbed by the spectator and its role in fashioning story; the shifts made in spectating at festivals between theatre and dance; and the political consequences and traps of mobility and immobility.
588			_aDescription based on print version record.
650		0	_aActing _xPsychological aspects.
650		0	_aActing _xPhilosophy.
650		0	_aActing _xStudy and teaching.
650		0	_aActors _xStudy and teaching.
650		0	_aTheater audiences _xStudy and teaching.
650		0	_aTheater _xStudy and teaching.
655		0	_aElectronic books.
655		7	_aElectronic books. _2local
710	2		_aProject Muse, _edistributor.
776	1	8	_iPrint version: _z9780615858968
710	2		_aProject Muse. _edistributor
830		0	_aBook collections on Project MUSE.
856	4	0	_zFull text available: _uhttps://muse.jhu.edu/book/76450/
999			_c26941 _d26941