Representation and Identity from Versailles to the Present: The Performing Subject

by A. Sikes

Overview

Sikes traces the shifting role of performance in the fashioning of subjectivity from the Modern to the Postmodern eras. The book joins history and historiography and is grounded in a body of research about varied performance subjects from court dance, ballet, opera, festivals, celebrations, propaganda films, Hollywood movies to reality TV.

Product Details

ISBN-13:	9781403977847
Publisher:	Palgrave Macmillan US
Publication date:	09/25/2007
Series:	Palgrave Studies in Theatre and Performance History
Edition description:	2007
Pages:	214
Product dimensions:	5.51(w) x 8.50(h) x 0.03(d)

About the Author

ALAN SIKES is Assistant Professor of Theatre at Hunter College at the City University of New York, USA.

Table of Contents

Identity and Representation in the Modern and Postmodern Eras The Performance of Privilege in the Reign of Louis XIV The Rise and Fall of the Castrato Singer Citizen Action and the Libratory Legacy of the French Revolution The Hysterical Woman From Zola to Freud Benjamin, Adorno, and the Politics of Mediatization Performativity and the Horizon of Hegemony

Editorial Reviews

"At the time when the prefix 'post ' begins to lose its singularity and radical sharpness, Sikes's study reminds us that we have much to gain by exploring the tension between past and present imaginations. His critical imaginary travels through an insightful analysis of the relationship between social status and performance (conduct manuals from the time of Louis XIV), instability within sexual hierarchies of the Baroque culture, post-revolutionary freedom and new modes of political participation (1789), the culture of visuality in the nineteenth century (Zola and Freud), mediated images (The Truman Show), and same-sex marriage (2007, USA). What is significant in the study of these historical fragments is Sikes's commitment to exploring performative articulations and re-articulations, which view the horizon of the intelligible not as limit of a historiographic project, but as a dynamic site where the radical performative possibilities can exist. By so doing, this study may effect how we write about theatre/performance history." - Michal Kobialka, Professor of Theatre, University of Minnesota

From the Publisher