Advisory Faculty: Professors: BUCKY, CASSIDAY, DARROW (Co-Coordinator, Second Semester), D. EDWARDS, EPPEL, HOPPIN, OCKMAN. Associate Professors: KAGAYA (Co-Coordinator, First Semester), L. JOHNSON***, W. A. SHEPPARD. Assistant Professors: BEAN (Co-Coordinator), BURTON, JOTTAR, MLADENOVIC. Lecturers: BROTHERS, DIGGS, JAFFE.
The Performance Studies Program provides an opportunity to inhabit an intellectual place where the making of artistic and cultural meaning intersects with critical reflection on those processes. The program has as its primary goal the bringing together of those students and faculty engaged in the creative arts, i.e., studio art, creative writing, dance, film and video, music, and theater with those departments that reflect in part on those activities, e.g., Anthropology and Sociology, Art History, Classics, Comparative Literature, English, History, Music, Philosophy, Psychology, Religion and Theatre. The central ideas which performance studies confronts-action, body, frame, representation, race, ethnicity, gender, politics, history and transcultural experience-circulate within and through the subjects and fields upon which the program draws.
Performance Studies strongly suggests that interested students take the introductory course (Theatre 220) and one of two capstone courses (Theatre 330 or Theatre 331).
Currently, the Program's status is as a program without a concentration. However, students interested in participating in the Performance Studies Program are encouraged to do five things: 1) take the introductory course, which in 2006-07 is Theatre 220, Approaching Performance Studies; 2) take a capstone course, which in 2006-07 is either Theatre 330, Aesthetics of Resistance: Contemporary Latin American Theatre and Performance; or Theatre 331, Sound and Movement in the Afro-Latino/a Diaspora; 3) try different artistic media, both in the curriculum and beyond; 4) move between the doing of art and performance and thinking about that process; and 5) prepare a portfolio of their work in different media.
As a senior year project, the Performance Studies Program strongly recommends the assembling of a senior portfolio. Preparation of the portfolio should normally begin in the second semester of the junior year. It will be done under the supervision of a member of the advisory faculty and will be submitted in the spring of the senior year. What we suggest is that portfolios should draw on at least four projects or productions. They should show critical self-reflection on the creative processes, a comparison of the artistic media employed and also demonstrate performance criticism on the work of others.
THEA 220(S) Approaching Performance Studies (Same as ArtS 204 and Women's and Gender Studies 220) (W)
Whether engaged with a `dialogical aesthetic' (Grant Kester) or intentional movement and sound in relation to narrative, place or phenomena, we explore in this class elements from many fields: anthropology, dramatic theory, post-structuralism, psychoanalytic theory, folklore, religion, cultural studies, literary theory, philosophy, feminist theory, and queer theory. The forms we'll consider as the interdisciplinary meeting ground for those studies include theatre, film, video, music, dance, visual art, performance art, community activism, celebrations, parades, and public gatherings. As we read and watch performances, questions will be raised: What are the parameters? Are social attributes, such as ethnicity or sexuality, staged? Are cultural activities, such as tourism, beyond our purview or are they performed and displayed as they are lived? Are spectacles, simulations and consumption culturally specific? This course is the introduction course for the Performance Studies Program. Format: seminar. Evaluation is based on one short presentation, two short papers, final performance project, class discussion and class attendance. No prerequisites. Enrollment limit: 19 (expected 10). Not open to first-year students
Hour: BEAN and DIGGS
THEA 330(F) The Aesthetics of Resistance: Contemporary Latino/a-American Theatre and Performance (Same as American Studies 330 and Latina/o Studies 330)*
This course explores the theories and current practices of Latin American theatre and performance; particularly how these expressive practices evolve within and against dictatorships and neocolonial regimes. We will explore how art and activism coincide in the production of counter-public spheres and aesthetics of resistance such as theatre of the oppressed, public interventions, and cyber-activism. The course concludes with an examination of site-specific performance along the US/Mexico border and the Spirit Republic of Puerto Rico. Format: seminar. Requirements: class participation and 2 presentations, one review, one short essay (5-7 pages) and two longer essays (7-10 pages). Students are expected to visit the Hemispheric Institute of Performance and Politics website (http//hemi.ps.tsoa.nyu.edu). No prerequisites. No enrollment limit.
THEA 331(S) Sound and Movement in the Diaspora: Afro-Latin Identities (Same as American Studies 331, Latina/o Studies 331 and Women's and Gender Studies 331)*
This course focuses on the production of music and dance in the Afro-Latino Diaspora, and how Afro-Latino identities manifest through these various forms of expressive culture. We will explore the notions of transculturation and mestizaje as theoretical tools to understand the construction of race as a representational discourse performed through music and dance. We will pay particular attention to the intersections of class, race, gender and sexuality in Cuba, Brazil, Puerto Rico, and the U.S. Format: seminar. Requirements: class participation and presentations, two short essays (3-4 pp.) and one final essay (10 pp.) No prerequisites. No enrollment limit.