Actors and Activists: Performance, Politics, and Exchange by David A. Schlossman

By David A. Schlossman

This scholarly paintings seems to be on the factor of politics and function in the United States this day with specific recognition paid to performances produced by way of activists, the NEA 4, and "Miss Saigon".

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Additional info for Actors and Activists: Performance, Politics, and Exchange Among Social Worlds

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Finally, in addition to existing as a cultural practice manifest in performance-in-life and in performance during "bounded events," performance exists as a set of institutional practices. 26 Actors and Activists That is, people create special categories within social life dedicated to the production of performances. It is such realms of social activity-including forms as diverse as commercial theatre, not-for-profit theatre, community theatre, educational theatre, and performance art-that I call the social worlds of institutional performance (I derive the term "social world" from sociologists identifying themselves as "symbolic interactionists," whose specific ideas occupy a later section of this chapter).

Finally, in addition to existing as a cultural practice manifest in performance-in-life and in performance during "bounded events," performance exists as a set of institutional practices. 26 Actors and Activists That is, people create special categories within social life dedicated to the production of performances. It is such realms of social activity-including forms as diverse as commercial theatre, not-for-profit theatre, community theatre, educational theatre, and performance art-that I call the social worlds of institutional performance (I derive the term "social world" from sociologists identifying themselves as "symbolic interactionists," whose specific ideas occupy a later section of this chapter).

I also intend the term "institutional performance" to refer to worlds of live performance. Philip Auslander (Liveness)has shown that the rhetoric of live performance is fraught with assumptions about the specialness of liveness versus mediation. My term is not intended to privilege the "magic" of the live, but rather to distinguish between the institutional practices of those who define their work in terms of live performance versus those who work in the often-overlapping but distinct worlds of what might be called "mediated" or "broadcast" performance.

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