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Transcript

  • 1. ACTIVISM Performance and Performitivity
  • 2. RESISTANT PERFORMANCE By: Marvin Carlson
    • BIOGRAPHY
    • Ph.D. in drama and theatre from Cornell University
    • City University of New York Graduate Center in the Ph .D. program of Theatre and Comparative Literature
    • Researching and teaching include dramatic theatre and literature, as well as Western European theatre history of the18 th ,19 th , and 20 th centuries
    • ACHIEVEMENTS
    • ATHE Career Achievement Award
    • George Jean Nathan Prize
    • Bernard Hewitt Prize
    • George Freedley Award
    • A Guggenheim Fellowship
    • In 2001, his book The Haunted Stage won the Callaway Prize
    • His best known book, Theories of the Theatre has been translated into five different languages
    • Awarded honorary doctorate from University of Athens in 2005
  • 3. Summary
    • Modern Women’s Movement- late 1960s
      • Miss America Pageant- 1968
      • WITCH (Women’s International Terrorist Conspiracy from Hell)
    • Guerrilla & other street theatre
    • Ulrike Rosenbach & Valie Export- “Feminist actionism”
    • Freud- male as dominant subject in patriarchal culture
      • Men as viewer, women as desirable object
    • Judith Butler- gender a “performative,” aka a “doing”
    • Innovative Agency
    • “ The master’s tools will never dismantle the master’s house” - Audre Lorde
    • ‘ Mimicry’- make spectacle of oneself in order to draw attention to the spectacle itself
    • Gay and lesbian camp performances are strong examples of resistant performance
  • 4. Lateral Research
    • The system: traditional theatre and visual art assumes a male spectator and offers females as the “other” – “the object of the male’s desiring gaze” (Carlson 233)
    • relates to Laura Mulvey’s theory of “the male gaze”
      • discusses how “mainstream Hollywood films represent women characters as passive objects of male sexual desire”
      • theory of the male gaze: male characters are “bearers of the look”
      • women are seen as objects both physically & sexually and also desirable characters  “cultural practice that has made of woman an object, a category, a sign”
      • “ watch cinematic films through the eyes of the dominant male protagonists…”  “The traditional audience is assumed to be the male subject, and the woman on stage”
  • 5. GUERRILLA GIRLS Case Study #1 Reinventing the ‘F’ word – feminism http://ca.youtube.com/watch?v=Oytwe5nVjg4
  • 6. Relevance
    • What word associations do you make when you hear the term ‘guerrilla’?
      • Masculinity, Aggressive, Destructive, Powerful
    • The Guerrilla Girls strive to incorporate these aspects into their art
    • Guerrilla art
      • term refers to art that is created in the streets opposed to government sponsored, commercial venues
    • Traditional graffiti, flash mobbing,...
  • 7. Guerrilla History
    • Guerrilla girls
      • developed in New York in 1985
      • Primarily created to grab people’s attention regarding the male dominated art world
      • Use ‘comic book’ style and humour to grab people’s attention
      • Less than 5% of the artists in the MET's modern art sections were women, but 85% of the nudes were female
      • The following is their most famous poster which is seen in a variety of texts
  • 8.  
  • 9. Public Sphere
    • Invasive- gives little option to viewer
    • Bringing a lesser subject to the attention of the public
    • Not defeated by commercial art
    • Comic book style
    • Innovative
    • Bright colour scheme
    • They represent in costume as well; gorilla mask, mini skirt with fish net stockings, and take on dead female celebrity names
    • Rapport with their viewer- more interactive
    Guerrilla Art
  • 10. Class Discussion
    • Do you think that resistant performance is a good method to generate a message? Do you think that the Guerrilla Girls encapsulate all the elements of resistant performance? If not, what elements do you think they need to incorporate?
  • 11. PARDON ME BUT THE ART IS MOUTHING OFF By: Jori Finkel
    • Lynn Hershman
    • 64yr old digital media artist
    • Completed her Masters in Art
    • Explored artificial intelligence and virtual reality
    • Participated in activities such as photography, painting, performance art, video, laserdiscs, DVD’s, web-based work, artificial intelligences and interactive sculptures
    • A pioneer in interactive computer and net based media arts
    • 1993 Donald Hess bought the entire Roberta archives
    • Steve Dietz displayed Lynn’s work at the Walker Art Center in Minneapolis
    • University of California Press published an anthology that consisted of 10yrs documenting various projects of Lynn
    • DINA’s Programmer: Colin Klingman
  • 12. Hershmann’s Projects Creating Roberta Breitmore 1974- 1978
    • Character Study
    • Divorced, blonde, heavy makeup and depressed
    • Owned her own apartment, had a drivers license and 2 credit cards
    • After 3yrs Kristine Stiles took over the role of Roberta
  • 13. Creating Lorna- 1 st Interactive Laserdisc 1984
    • Originally conceived as an interactive game
    • Always prevailed a sad portrait of a woman (like Roberta)
  • 14. Movie: Conceiving Ada (1997)
    • Bringing Ada Lovelace (Lord Byron’s daughter) back to life through computer programming
  • 15. Movie: Teknolust (2002)
    • A story of a geeky biogeneticist who uses her own DNA to create 3 computer-bred clones
    • Marinne
    • Olive
    • Ruby
    http://www.youtube.com/watch?v=0jAwudHeZhQ
  • 16. Creating DINA (2004)
    • Originally could only communicate through keyboard but now has progressed to speech
    • Ruby was an earlier model but Dina contained twice as much programming
    • Both Ruby and Dina had the face of actress Tilda Swinton
    • Dina is a flat screened monitor equipped with voice recognition software- artificial intelligence
    • Purpose was to chat about current affairs
  • 17. Lateral Research
      • “ Men seem to like Ruby more…she’s funnier and quirkier, and they are put off by DiNA’s intelligence”  a past notion that men were smarter and more successful than women and felt threatened by intelligent women
      • DiNA, an all knowing, interactive and intelligent robot = how women have gained power and an identity for themselves, not imprisoned by the ‘male gaze’
      • Men interacting with DiNA = how men have more respect for women today, they are seen as an equal and not looked down upon
      • Tilda Swinton representing the face of DiNa = how women of today are beautiful and intelligent
  • 18. Lateral Research (cont’d)
    • **BUT some female robots degrade women**
    • Vodka: http://i3.photobucket.com/albums/y93/Yadali/svedka_girl.gif
    • Heinekin: http://www.youtube.com/watch?v=l-NfrBgYIEQ
    • They are completely plastic/metal and have the bare essentials, lips, chest, behind, a seductive look  promoting traditional sexist standards
    • Represents the only features of a woman in the eyes of a man
    • Robots are “human slaves”, controllable and programmable  men control women, have them when, as and how they want them,
    • “ FEMBOTS” represent women as male prisoners, imprisoned by their sexual and empowering needs
    • Ads using robots to promote their products
    • Robots have become “sex symbols”
  • 19. STRUGGLE TO SUCCESS By: George Belliveau
    • George Belliveau is an Assistant Professor in the faculty of Education at the University of P.E.I.
    • Belliveau teaches Integrated Arts and Drama Education
    • The anti- bullying collective drama Wasn’t Me! is a play created by Belliveau and a group of students from the education program of the University of P.E.I.
    • Over their 5 week teaching practicum in 2002 the group of students and Belliveau presented the play to over 30 schools
    • Influenced by:
    • - The Shape of a Girl by Joan MacLeod
    • - Augusta Boal’s Forum Theatre
    • Patrick Verriour and Carol Tarlington’s Role Drama
    • Other bullying related performances
    • - Personal experiences of the actors and writers
  • 20. 1.Exploring and Researching
    • Main theme or topic
    • Target play at students between the grade of 7 and 9
    • Focus mainly on the bystanders of bullying
    • Discussions with guidance counselors, schools with anti-bullying initiatives, literature on bullying and websites
    • Focuses on a girl who is struggling with issues at home and therefore results in her bullying a young boy at school
    • Desire to be a performer increased by many
    • Everyone became involved in the acting, setting, writing, directing, content and overall mood of the play
    2. Framing
  • 21. 3. Sequencing
    • Non-linear presentation
    • Caused some anxiety because they were fearful that the audience would not be able to follow
    • Has a circular structure beginning and ending for the search of a little boy named Tim
    • Results in a more engaging script
    • The time rehearsing (3 to 4 solid days) took much less time than scripting
    • Transitions, music and connecting scenes
    • Developed post-performance activities for the audience members
    4. Rehearsing
  • 22. 5. Performing
    • Well received by the Department of Education, Teachers Federation, School Boards, principals, teachers and intermediate students
    • Media coverage (newspapers, radio and television)
    • The Shape of a Girl and Augusta Boal’s Forum Theatre was evident in the production of Wasn’t Me!
    • Tim is the victim of bullying and he never appears on stage and in the end he is the boy that goes missing and results in a search
    • Focuses on a female aggressor as she manipulates and bullies a male victim
    • Drama overall is a powerful medium for providing messages and educating youth on current affairs
  • 23. Lateral Research
    • Relates to David Diamond’s Form Theatre that discusses social issues: drugs, violence, alcohol, etc.
    • “ Drama is a powerful medium for providing learning for people at all stages of life, and creating collective drama, rather than using scripted text, further heightens individual and collective satisfaction…”  David Diamond: “…the Forum Theatre events were able to explore a lot of creative options that were perception altering, and sometimes skill building, for everyone involved…”
    • David Diamond even helped with an anti-bullying production Don’t Say a Word
    • form of “activist theatre” that tries to raise awareness about issues and persuade people to take action
  • 24. Lateral Research (cont’d)
    • Other anti-bullying programs:
      • Safe Canada : Anti bullying programs and preventative measures
      • Ministry of Education : register for bullying prevention programs
      • Peaceful Schools International : resources, support and ideas on bullying
  • 25. Lateral Research (cont’d)
    • The media draws a lot of attention to bullying, in a positive light, seen as “cool” and accepted
    • http://www.youtube.com/watch?v=6Wcx2qM5C4g&feature=related
      • Kids are influenced by this bullying exposure and don’t see it as being bad
      • Bullies are often the ‘popular’ kids
      • Female bullies are referred to as “mean girls,” and male bullies as “cool guys”
      • Bullying is sometimes an answer to one’s insecurity  more of a question of how to raise kid’s self esteem and acceptance of others and differences (social, physical, mental, etc.)
      • Relates to Hebdige’s subcultural  people who, in an attempt to resist mainstream culture, often face bullying, their outspoken identity is ridiculed because it goes against the norm
  • 26. Our Performance Starring: Instigator Bully Victim Bystander Confronter
  • 27. Class Discussion
    • The text as well as our play, shows bullying occurs well into adult circumstances. Do you think that resistant performances being exposed to us at a younger age alters our frame of reference regarding bullying?
  • 28.