Title: Performance constellations: to show the invisible
Source document: Theatralia. 2022, vol. 25, iss. 2, pp. 158-161
Extent
158-161
-
ISSN1803-845X (print)2336-4548 (online)
Persistent identifier (DOI): https://doi.org/10.5817/TY2022-2-10
Stable URL (handle): https://hdl.handle.net/11222.digilib/digilib.77253
Type: Review
Language
License: CC BY-NC-ND 4.0 International
Reviewed work
Fuentes, Marcela A. Performance constellations: networks of protest and activism in Latin America. Ann Arbor: University of Michigan Press, 2019. xiv; 164 p. ISBN 0-472-12583-4 (eText); ISBN 978-0-472-07422-8 (print).
Notice: These citations are automatically created and might not follow citation rules properly.
Note
The funding for the present text was provided by the Czech Ministry of Education, Youth and Sports for specific research (IGA_FF_2022_062).
References
[1] AUSLANDER, Philip. 2008. Liveness: Performance in a Mediatized Culture. London: Routledge, Taylor & Francis Group, 2008.
[2] BAXANDALL, Lee. 1969. Spectacles and Scenarios: A Dramaturgy of Radical Activity. The Drama Review 13 (1969): 4: 52–71.
[3] FISHER, Mark and Darren AMBROSE (ed.). 2018. K-punk: The Collected and Unpublished Writings of Mark Fisher (2004–2016). London: Repeater Books, 2018.
[4] CHUN, Wendy Hui Kyong. 2008. The Enduring Ephemeral, or the Future is a Memory. Critical Inquiry 35 (2008): 1: 148–171.
[5] KERSHAW, Baz. 1992. The Politics of Performance: Radical Theatre as Cultural Intervention. New York: Routledge, 1992.
[6] RAI, Shirin M. et al. (eds.). 2021. The Oxford Handbook of Politics and Performance. New York: Oxford University Press, 2021.
[7] SALTER, Chris. 2010. Entangled: Technology and the Transformation of Performance. Cambridge: MIT Press, 2010.
[8] SCHECHNER, Richard. 1970. Guerrilla Theatre: May 1970. The Drama Review 14 (1970): 3: 163–168.
[9] SCHECHNER, Richard. 1988. Performance Theory. London/New York: Routledge, 1988.
[10] TAYLOR, Diana. 2003. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham: Duke University Press, 2003.
[2] BAXANDALL, Lee. 1969. Spectacles and Scenarios: A Dramaturgy of Radical Activity. The Drama Review 13 (1969): 4: 52–71.
[3] FISHER, Mark and Darren AMBROSE (ed.). 2018. K-punk: The Collected and Unpublished Writings of Mark Fisher (2004–2016). London: Repeater Books, 2018.
[4] CHUN, Wendy Hui Kyong. 2008. The Enduring Ephemeral, or the Future is a Memory. Critical Inquiry 35 (2008): 1: 148–171.
[5] KERSHAW, Baz. 1992. The Politics of Performance: Radical Theatre as Cultural Intervention. New York: Routledge, 1992.
[6] RAI, Shirin M. et al. (eds.). 2021. The Oxford Handbook of Politics and Performance. New York: Oxford University Press, 2021.
[7] SALTER, Chris. 2010. Entangled: Technology and the Transformation of Performance. Cambridge: MIT Press, 2010.
[8] SCHECHNER, Richard. 1970. Guerrilla Theatre: May 1970. The Drama Review 14 (1970): 3: 163–168.
[9] SCHECHNER, Richard. 1988. Performance Theory. London/New York: Routledge, 1988.
[10] TAYLOR, Diana. 2003. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham: Duke University Press, 2003.