Bodies, Spaces, Performances
| Bodies, Spaces, Performances
School of English and Theatre Studies College of Arts University of Guelph Led by:
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| Intended learning outcomes (more on programme level)
Learning Outcomes, designed as such, indicates that on successful completion of this course, learners can (1) Identify and explain multiple issues, theories, methods, vocabulary, and other challenges associated with performance, the body, and uses of space by reviewing current reading and weekly writing in a journal. (2) Evaluate individual beliefs, truth claims, and credibility from sources by researching multiple points of view for all writing, creation work, and final letter/assessment. (3) Differentiate among multiple forms of writing, communication, and media through ongoing writing practice, reflected in student journals and other writing, demonstrating the differences between descriptive, analytic, and reflective writing. (4) Apply communication skills and elements of visual/media/digital literacies to advance knowledge by presenting polished media and written creations, including scholarly writing and research. (5) Apply professional and ethical standards by attending to social justice issues, designing meaningful mediated interventions, and following professional and academic standard practices. (6) Demonstrate risk-taking, creativity, and initiative by creating high-quality research and writing, as well as creating and (digitally) packaging media products/digital artifacts. (7) Exhibit interpersonal and intercultural competence through weekly meetings, participation in/with professional performance/s, and interactions with other class members, graduate cohort, university, and professional community. (8) Recognize uncertainty, ambiguity and the limits of knowledge by selecting and responding to course materials and by creating unique and responsible writing and media. (9) Demonstrate autonomous learning by designing independent learning and reading plans, which learners outline in ongoing journal writing and weekly meetings with the professor. The goal is for learners to attain the qualities and transferable skills and characteristics necessary for further study, employment, community involvement, and other activities requiring initiative, ethical reasoning, academic integrity, social responsibility, and time management. |
| Learning objectives (course specific)
Graduate learning outcomes in this course focus on learner skills in four general areas: 1. Knowledge and Thinking Learners utilize knowledge and critical understanding of key concepts, methodologies, and theoretical approaches in performance, media, and sexuality, applying interdisciplinary, transdisciplinary, and multidisciplinary research and creative practices. Learners propose and research original questions, recognize applicable methods, and design and create analytical arguments that synthesize textual analysis, secondary research, and theoretical awareness. Learners demonstrate an appreciation for uncertainty, ambiguity, and knowledge limits, grasping how these limits might influence analyses, interpretations, and worldviews. 2. Conceptual and Creative Activity Learners operate current inquiry and creative activity methods in related disciplines to solve related disciplinary problems or respond to disciplinary challenges. In doing so, learners exploit information, technological, and/or visual literacies as well as global and inter-cultural perspectives to discover new knowledge. Any critical evaluation of disciplinary arguments, assumptions, abstract concepts, creative work, and/or information seeks to solve problems and/or create new work; learners organize new knowledge to initiate and practice civic engagement, intercultural competence, and self-reflection related to the global/historical ethics/politics of individual research interests. 3. Communication & Literacy Learners find and assess online sources’ academic relevance and scholarly forums; independently judge the research potential of different sources; review literature guided by an independent research question; evaluate non-disciplinary scholarly work to approach their research question from interdisciplinary perspectives. Learners attain the writing and research skills necessary to succeed in graduate work. They continue to hone a wide degree of communication skills and communicate to specialized and non- specialized audiences using structured and coherent arguments. 4. Capacity for Autonomy & Leadership Learners organize and manage work and time by exercising initiative, ethical reasoning, academic integrity, social responsibility, and time management. Learners validate the worldviews and viewpoints of others while maintaining their own. Through ongoing initiatives and interactions, learners enhance leadership capacities. Knowledge is always expanding, and new applications evolve every day. This course incorporates new theories and models of teaching and learning into the curriculum. Lipton also provides sufficient flexibility to embrace learner negotiations as well as new ideas as they evolve. To this end, learners actively must seek to continue their development towards holistic maturity. |
| Objective statement (course description)
By providing a collection of lenses and applying various somatic approaches, this course reviews arts-based methods within a performance studies context. All classes are “workshops” in the senses, body movement, structural anatomy, pleasure, engagement, self-management, trust. In this creative laboratory, learners apply movement resources to slow down, combining movement meditation, sonic ecologies, eco-Nature inquiries, and expressive art/play/writing. By considering recent scientific advances, the course makes links made between the body and the brain/mind and the application (exercise, operation, play) of movement as a means to activate the brain’s natural neuroplasticity. Neuroplastic principles for interdisciplinary movement addresses the roles of failure, environment and reward in motor learning and skills acquisition, as well as the value and tools for building a durable practice focusing on health and well-being and longevity; applications of somatic theory and practice promote tactics for interventionist research and social change. Further, we engage in an inquiry that regards the body and place/space as a transactional process requiring mutual interdependence and sympoiesis within contexts of current post-human, Anthropocene and Chthulucene discourses. The pedagogy relies on techniques of improvisation, the Alexander Technique, the Franklin method, Moche Feldenkrais’ method, Kinesiology, Capoeira, Contact Improvisation, Body-Mind Centering, Mindfulness, as well as conceptions of voice, movement, culture, self and Other. By applying these and other somatic approaches, learners are challenged to explore (and perhaps dissolve or annul) the nature of physiological habits. Learners cocreate frameworks of dynamic rhythm, rediscovering bio mechanic mobilities and other means that facilitate access to the body/mind’s sensorium. Our applications of inter- culturally informed methods seek to decolonize, imagining speculative futures of learning, humanity, and a range of eco-perceptual possibilities. The course examines criteria for evaluating arts- based research methods and seeks to establish rigour in research-creation (as defined by SSHRC) regardless of the art modality; the psychology of perception suggests the existence of a standard human cognitive system that treats all, or most sensorily conveyed meanings in the same way. As per theories of semiotics, as all signs are also texts/objects of perception, the modality (in semiotic terms) will determine at least part of its nature, meaning, and impact. Our arts-based research aims to advocate and promote current and emerging research practices and subjects, including (but not limited to) research into materials, processes, methods, concepts, aesthetics, and style, regardless of disciplinary area or representational form. |
| Type of course
Content & Skills course |
| Target group
Graduate students |
| Pedagogical approach
Experiential, communication-based, content-based |
| Activities/syllabus
Please find/bring artistic and workshop materials:
Film Screenings
<https://media3-criterionpic-com.subzero.lib.uoguelph.ca/htbin/wwform/006?T=M32440>.
<https://media3-criterionpic-com.subzero.lib.uoguelph.ca/htbin/wwform/006?T=MON1708>. Films are available via the university library, in the Criterion Collection. Watching a film is a way to schedule & manage your time. Since these films may appeal to broader audiences, I encourage you to watch WITH OTHERS. Group dynamics in response to film can be powerful learning. Welcome others in your bubble and facilitate a conversation about the selected films. Schedule ONE – Disorientation Introductions | Grounding | Falling | Polyvagal Tolerances | Standing on Your Feet TWO – Conversations Mapping the Body | Learning from Failure | Hope | Presence | Othering | Your Cervical Spine Nosh: how do you like your OATMEAL? Read Phalen, Peggy. Afterword, notes on hope—for my students: Unmarked: The Politics of Performance. Spatz, Ben. Notes for Decolonizing Embodiment. Stevenson, Nancy & Helen Farrell. Taking a hike: Exploring Leisure Walkers Embodied Experiences. Watch Wenders, Wim., et al. Pina. Distributed in Canada by Mongrel Media, 2013. <https://media3-criterionpic-com.subzero.lib.uoguelph.ca/htbin/wwform/006T=MON1708>. Suggested Austin, J.L. Lecture One & Two: How to Do Things with Words. Cooper Albright, Ann. Introduction & CH1 Falling: How to Land: Finding Ground in an Unstable World. Douglas, Mary. The Two Bodies AND Do Dogs Laugh. Jolly, S. Understanding Body Language: Birdwhistell’s Theory of Kinesics. Porges, Stephen. The Polyvagal Perspective. van der Kolk, Bessel. The Body Keeps the Score. THREE – Vibrations/Origin Territory & Affect | Ontogeny Recapitulates Phylogeny | Vibrating Your Diaphragms Nosh: what’s your favourite kind of APPLE? Read Alker, G. Martin, R. Browning, Bamkpa, A. Dialogues: The State of the Body. Duggan, Lisa and José Esteban Muñoz. Hope and hopelessness: A dialogue. Hirsch, Marianne. What’s Wrong with These Terms? Conversation w/Barbara Kirshenblatt-Gimblett & Diana Taylor Ngũgĩ was Thiong’o. Enactments of Power: The Politics of Performance Space. Suggested Bowditch, Rachel, et al. Four Principles about Site-Specific Theatre: A Conversation on Architecture, Bodies, and Presence. Halberstam, Jack. Introduction & CH1: The Queer Art of Failure. Minor, Horace. Body Rituals Among the Nacirema. Taylor, Diana. Introduction, CH1&2. ¡Presente! the Politics of Presence. FOUR – Biomechanical Embodiment Probing Perception | Sensations | Haptic Encounters | Action to Language | Meet Your Pelvis Nosh: Pick one leafy, GREEN vegetable! Read Conquergood, Dwight. Performance Studies: Interventions and Radical Research. Crossley, Nick. Researching Embodiment by Way of Body Techniques. Riccio, Thomas. Body, Space & Place: Creating Indigenous Performance. Spatz, Ben. Embodiment as First Affordance: Tinkering, Tuning, Tracking. Suggested Gordon, Mel. Meyerhold’s Biomechanics. Okhlopkov, et al. Meyerhold’s Bio-Mechanic Exercises (A Photographic Series). Spatz, Ben. Making a Laboratory Dynamic Configurations with Transversal Video. FIVE – Touching Feeling Dramaturgy in Motion | Improvisation on the Move | Performance Processes | Trust Your Gut Nosh: Do you have a favourite CANDY? Read Twisting your Melon: Describing Tricky Movements on the Page. Fusco, Coco. The Bodies that Were Not Ours: Black Performers, Black Performance. Maclaren, Kym. Intimacy & Embodiment AND Touching Matters: Embodiment of Intimacy. Suggested Lévêque, M. CH 2 The Neuroanatomy of Emotions. Merleau-Ponty, M. The Phenomenology of Perception. Poletti, Anne. Periperformative Life Narrative: Queer Collages. SIX – Academic Affordances Ability & Dis-Ability | Uses of Improvisation | Moving Bodies/Spaces | Know Your Noggin Nosh: One scoop of ICE CREAM. What’s your flavour? Read Suggested Brown, Nicole, & Jennifer Leigh (Eds.). Ableism in Academia: Theorising Experiences of Disabilities and Chronic Illnesses in Higher Education. Rutherford, A. What Is Body, What Is Space? Performance & the Cinematic Body in a Non Anthropocentric Cinema. Trezise, Bryoni. Stealth Pedagogies: The Radical Value of Thinking with Performance. SEVEN – Somatic Sing-Son[g]ic The Unsound Body | Voice | Deep Listening | Acoustic Ecologies | Surfing Waves of Breath Nosh: Lemon or Lime? Lemon WATER for all! Read Thom, Robyn. Learning to Listen. Suggested Chaudhuri, Sudeshna Datta. The Body as a Performing Space. EIGHT – Methods & Media Research-Creation | Arts Investigations | Space Games | Radical Reflexive Practices Nosh: I am going on a PICNIC, and I am going to bring . . .? Read Cao, Santiago. Body & Performance in the Era of Virtual Communication. Somdahl-Sands, K. & J. Finn. Media, Performance, & Past/presents: Authenticity in the Digital Age. +Selections from: Leavy, Patricia. Method Meets Art: Arts-Based Research Practice Loveless, Natalie. How to Make Art at the End of the World: A Manifesto for Research-Creation. Suggested NINE – Seizing & Regulating Spaces Apprehending | Creative Practices | Sensible Creations | Affect/Effect | Free Your Forearm Nosh: I am traveling to a new CITY & in my backpack, I carry a snack. What’s your snack? Read Gallagher, S & Lindgren. Enactive Metaphors: Learning Through Full-Body Engagement. Suggested Rounthwaite, Adair. From This Body to Yours: Porn, Affect, and Performance Art Documentation. TEN – Troublesome Authorities The Knowing Body | Somatic Storytellers | Silence | Regimes of Power | A LEG to Stand on Nosh: The strangest food in my HOME (that I will eat) is . . . Read Green, Jill. Somatic Authority and the Myth of the Ideal Body in Dance Education. Suggested ELEVEN – Possible Corpor-Realities Queer Matter | Touching | Corporeality | Kinship | Futures | Sacred Ergo Sacrum Nosh: What is on tonight’s MENU for dinner? Read Puar, Jasbir K. Bodies with New Organs: Becoming Trans, Becoming Disabled. Suggested Barad, Karen. TransMaterialities: Trans*/Matter/Realities and Queer Political Imaginings. Chthulucene Kinship. TWELVE – Queries & Distancing Entanglements Recovering Bodies | Assessing Collective Intelligence | Body is Mind | Twisting for Life Nosh: How do you CELEBRATE? Read Cooper Albright, Ann. How to Land: Finding Ground in an Unstable World. |
| Assessment of learning
Performance + hosting = 20% Commonplace journal = 30% Structured occasions for reflection allow learners to explore their experiences and develop abstractions that may help learners transfer knowledge to new situations. Awareness and reflection are not merely symptoms of developments in learners; they bring about the developments. Learners require various learning situations and opportunities to make subtle distinctions about the significant aspects of new contexts. By identifying the differences between similar situations, learners are better able to respond appropriately. This kind of learning transfer always involves reflective thought; learners practice abstracting ideas from one context finding connections. Learners must prepare for activities not limited to listening; they must read, write, discuss or be engaged in solving problems. Most importantly, to be actively involved, learners must engage in higher-order thinking tasks such as analysis, synthesis, and evaluation. Without taking away from the critical role I play; it is helpful to remember that WHAT LEARNERS ACTUALLY DO is more critical in determining what is learned than any actions of the professor. There will be many questions; some might help you begin. Questions are the building blocks of inquiry, wonder and learning. Please provide writing that demonstrates your self-reflection about the course materials, your readings/media experiences and your understanding of performance. This course requires students to dedicate approximately 30 to 60 minutes each week to journal writing. To help focus the creative practice necessary in performance contexts, students must keep ongoing track of their ideas and inner monologue/s. Please provide writing demonstrating your self-reflection about your understanding of the body in performance. In writing these journals, I ask you to consider THREE modes of writing to be mindful of 1) DESCRIPTIVE writing; 2) CONTEMPLATIVE writing; & 3) ANALYTIC writing. The former asks for details about sensory experiences, like visceral sensations; the latter invites students to contemplate ideas, thoughts, values as meaningful. In some cases, writing is expository; learners provide accounts of their experiences in response to a topic, issue, or question. Each week, new ideas and prompts are suggested. You choose if and how to respond. You determine your uses of this journal. I may ask to see portions; however, this work belongs to you. If there are selections you do not want to share, please trust you will be respected. What I call a journal is, in fact, a demanding research practice. Think of this task as a scrapbook that includes anything related to our course of study: recipes, quotes, letters, poems, proverbs, prayers, legal formulas—you name it. How might your journal function as an aid for remembering useful concepts or facts? Each journal is unique to its creator’s particular interests; journals include passages from other texts, often accompanied by critical responses. In this assignment, you are curating, collecting, reflecting, drawing, responding, making, tinkering, among other activities. These are NOT diaries or travelogues; these are not introspective journals or diaries. The graduate programs in Critical Studies in Improvisation (IMPR) engages in a similar research practice; the term used in IMPR is “commonplace books” or “commonplaces.” Commonplace is a translation of the Latin term “locus communis” (from Greek “tópos koinós”), which means “a general or common topic,” such as a statement of proverbial wisdom. John Locke (1685) wrote a treatise (French) on “commonplace books,” translated into English in 1706 as A New Method of Making Common-Place- Books. For additional guidance see: Stolberg, Michael. John Locke’s ‘New Method of Making Common-Place-Books’: Tradition, Innovation & Epistemic Effects. Early Science & Medicine, 19:5, 2014, pp. 448-70. Your journal may include and show evidence of:
Please cite all sources—use the style guide of your choice. When in doubt, look up MLA. Journal writing gives you the freedom to assess what needs to be said. Some entries will be longer; others shorter. There are no word or page number requirements. I usually say something like “As long as necessary & as short as possible”–or, my grandmother’s voice, speaking to me in Yiddish: Verter zol men vegn un nit tseyln ? words should be weighed, not counted. Naming what we know: threshold concepts in performance studies = 20% Jan Meyer & Ray Land (2005) define a threshold concept as a concept that encourages new ways of thinking, perceiving or feeling about something. That is, once understood, a threshold concept opens a new way of thinking about a topic that was not previously accessible. To fully participate with the humanistic, academic, and theoretical elements of performance (broadly defined), threshold concepts are conceptually challenging and resist prior knowledge that may be inert, unused, or unchallenged. Threshold concepts require learners to take on new identities that are uncomfortable – outside the box. Threshold concepts are liminal—but the movement toward and through thresholds is never clear, straightforward, or easy. However, once a threshold concept is identified and embodied, learners can recognize new patterns of meaning related to the concept. For Sarah Kent (2016), threshold concepts play an integral role in human development, marking one’s ability to learn and develop new skills. Threshold concepts offer a new way of thinking and interacting with others. Once a concept has been learned and understood, it is nearly impossible to return to previous ways of thinking. The ability to see through/with that concept transforms learners’ understanding of phenomena, people, performance, and other events. Threshold concepts are probably irreversible; once you see with and through a threshold concept, it may be impossible to return to nascent perceptions; one cannot unlearn or unseen the lens made available through threshold concepts. In our curious inquiries into the subjects of this course, a goal for all is to bring a sense of the unknown into a familiar space—in whatever way works. The quality of learning engagement is marked with pre-liminal moments of utter confusion, troublesomeness; this course offers new lenses (possible threshold concepts) through which critical micro-perspectives refocus those sources of troublesomeness. With this new focus, I invite you to the liberatory experience of, what might be called, a beguiling enchantment— enchanted into a sense of greater comprehension. Following Jacques Derrida’s (1978) notion of the discursive nature of language—discursive language as necessary for threshold concepts are, therefore, by implication, subject to the endless play of signification that language implies. In the words of Marcel Proust: “The real voyage of discovery consists not in seeking new lands but seeing with new eyes.” Please identify two or three threshold concepts (important ideas) and relate them to existing academic literature in your analysis. For each concept, please write approximately 1000 words + a bibliography. Methodologies & ecologies in research creation = 20% Learners are introduced to methods in research-creation as informed by intersectional, queer, feminist, black, Indigenous, and critical disability scholarship/art practices. Research- creation methodologies function as conjunction, inviting a juxtaposition of other terms, categories, and concepts: Research-Creation + Art + Dance + Food + Song + Art/Sci + Documentary, etc. In other words, research-creation is a conjunctural practice comprised of multiple media forms (production/s, prototypes, etc.). It includes a host of methods, from micro- to macro- to meta-, integrating a complex network of epistemologies and ontologies. Depending on the learner’s unique sensibilities, research-creation manifests according to the transactions among learner, course materials, and creative experimental endeavors. What these experiences share is a desire to challenge dominant taxonomies of knowledges, bodies, neoliberal conceptualizations of space and time, institutional and systemic power, capitalism, white supremacy, and to consider other ways of being-in-relation and other ways of thinking-making-doing not confined to normative institutional or disciplinary logics. Given LIPTON’s situated identity within academic politics, learners are also asked to consider how research-creation can also function as potential intervention—not as set against any traditional scholarship, but to bolster and sustain the strength of creative activities to provoke new forms of research.To wit, learners discuss potential ideas to identify an entry point that aligns with other methods or means of conducting academic research, such as ethnography, discourse analysis, narrative writing, to name a few. Research-creation is more than method—learners are encouraged to see research-creation as method + approach + practice + experiment + site of debate arguing for expanded definitions of research and what get counted as “knowledge” in today’s academic climate. Further, research-creation also functions as a profound critique of academic structures of power, truth, and knowledge. There are multiple links between creation, production, innovation, invention, and other presentational and symbolic forms of inquiry. However, there remains this tendency to reinforce the discursive by considering how research-creation is distinct from, distilled, and rhetorically reflective through critical writing where intention and outcomes join the semantic and symbolic medium for academic knowledge production. This assessment requires learners to imagine how they might apply their sense of method to some aspect of their research interests. As such, there are two parts to this assessment: ONE: learners are asked to imagine how portions of research-creation might be created/performed/applied and captured for a professional brochure (visual and textual) introducing the researcher, research question/s, approach/s to method, and outcome/s; BODIES TWO: learners are asked to attach reflective & analytic writing that engages with questions of method. PACES Learners create 2D, visual brochure that introduces researcher, research question/s, approach/s to method, and outcome/s. Max. 1-page (double-sided). Included with this brochure is the learner’s analytic and reflective writing that contextualizes theory and method–in short, a critical reflection on the research-creation and its outcomes. Additional areas of analysis may also be included, as a result of this work and/or as deemed necessary by the learner. The last word = 10% Please take the time to write me a letter about your response to the class. Your honest feedback is appreciated. This assignment gives you a chance to express your intellectual assessment of the work we undertake in the class. To complete this assignment, I ask that you write a letter that identifies key points of learning, shifts in your knowledge, and discusses critical theoretical terms. Reflect on your effort and participation, your learning process and style and your understanding of the theories presented in the readings. Discuss the readings. REVIEW THE COURSE LEARNING OUTCOMES and determine the extent to which you reached course goals. Self-assessment is a process that invites learners to reflect on the quality of their work and judge the degree to which it reflects explicitly stated goals and criteria; you are also asked to consider your chosen path-that is, the materials you examined and those passed over; did your sense of academic autonomy help you identify and select an appropriate program of study? This kind of self-assessment is a tool for reconsidering how you managed your learning in changing circumstances. As an element of self- regulation, this task involves awareness of a task’s goals and checking one’s progress against the criteria. An intended outcome of self-assessment is enhanced self-regulation and increased achievement. Demonstrate what you have learned. Outline your contribution to the course in the form of a letter to me. Be sure to include a bibliography due last day of class. |
| Effect (witness account, evaluation of the course) |
| Additional biblio sources
SUGGESTED BOOKS Austin, J. L. How to Do Things with Words: The William James Lectures Delivered at Harvard University in 1955. Oxford University Press,1975. and Chronic Illnesses in Higher Education. UCL Press, 2020. 2019. Embodied Research, 3(2), 1 (8:29), 2020. University Press, 2019. 2020. SUGGESTED JOURNAL ARTICLES & BOOK CHAPTERS Social Distancing: Projects. Journal of Embodied Research, 3(2), 4 (27:52), 2020. Barad, Karen. TransMaterialities: Trans*/Matter/Realities and Queer Political Imaginings. GLQ: A Journal of Lesbian and Gay Studies, 21:2 – 3, Duke University Press, 2015. Bodies, and Presence. Theatre Topics, vol. 28 no. 1, 2018, p. E-5-E-19. Brayton, Sean. Race Comedy and the “Misembodied” Voice. Topia 22 97, 200X. Browning, Tod, et al. Freaks. Warner Home Video, 2005. <https://media3-criterionpic-com.subzero.lib.uoguelph.ca/htbin/wwform/006?T=M32440>. Cao, Santiago. Body and Performance in the Era of Virtual Communication. Collins, Barbara. “Moving in the Field of Compassion,” Inside Out: The Journal for the Irish Association of Humanistic and Integrative Psychotherapy, No. 76, Spring 2015. Conlon, D. Performative Spaces: Everyday Life in Christopher Park. Sexualities, 7/4, 2004. Conquergood, Dwight. Performance Studies: Interventions and Radical Research. TDR: The Drama Review, vol. 46 no. 2, 2002, p. 145-156. Craddock, P., & Harris, A. Workshopping: Exploring the Entanglement of Sites, Tools, and Bodily Possibilities in an Academic Gathering. Journal of Embodied Research, 3(1), 2 (16:17), 2020. Crossley, Nick. Habit & Habitus. Body & Society, vol. 19, no. 2-3, Sage,2013, pp. 136–61. Crossley, Nick. Researching Embodiment by Way of ‘Body Techniques.’ The Sociological Review, vol. 55, no. 1, SAGE Publications, Jan. 2017, pp. 80–94. Crossley, Nick. Mapping Reflexive Body Techniques: On Body Modification and Maintenance. Body & Society, SAGE Publications, London, Vol. 11(1): 1–35, 2005. De Roza, E., Fari, N. S., Hagan, C., & Spatz, B. Embodiment and Social Distancing: Editorial. Journal of Embodied Research, 3(2), 1 (8:29), 2020. Dokumacı, Arseli. A Theory of Microactivist Affordances: Disability, Disorientations, and Improvisations. The South Atlantic Quarterly 118:3, July 2019. Douglas, M. The Two Bodies. In Natural Symbols: Explorations in Cosmology. Routledge, 69-87, 1996. Douglas, M. Do Dogs Laugh? A Cross-cultural Approach to Body Symbolism. In Implicit Meanings: Selected Essays in Anthropology. 2ed. Routledge, 165-169, 1999. Duggan, Lisa and José Esteban Muñoz. Hope and hopelessness: A dialogue. Women & Performance: a journal of feminist theory. Vol. 19, No. 2, July 2009, 275–283. Duru, Damla, & Fatma Erkök, Pelin Dursun. Investigations of Body and Space Relations in the Context of Performance. In Kathleen Glenister Roberts, Ya-hui Irenna Chang & Łukasz Matuszyk’s Body Living and Not Measurable: How Bodies are Constructed, Scripted & Performed through Time and Space. Oxford,Inter-disciplinary Press, 2016. Edinborough, Campbell. Form and Spontaneity: Training for Improvisation in Football and Theatre, Theatre, Dance and Performance Training, Vol. 3, Is. 2, 2012. Edinborough, Campbell. Twisting your melon: describing tricky movements on the page, Theatre, Dance and Performance Training, 2016, Vol.7(2), p.278-282. Fusco, Coco. The bodies that were not ours: Black Performers, Black Performance. Journal of Contemporary African Art, Fall/Winter, 1996. Gallagher, S and J. Gallagher. Acting Oneself as Another: An Actor’s Empathy for Her Character. Topoi, vol. 39, no. 4, Springer Science and Business Media, 2019, pp. 779–90. Gallagher, S and Lindgren. Enactive Metaphors: Learning Through Full-Body Engagement. Educational Psychology Review, vol. 27, no. 3, Springer, 2015, pp. 391–404. Goldman, Danielle. Bodies on the Line: Contact Improvisation and Techniques of Nonviolent Protest. Dance Research Journal, vol. 39, no. 1, 2007, pp. 60–74. Gordon,Mel. Meyerhold’s Biomechanics. The Drama Review: TDR, vol. 18, no. 3, 1974, pp. 73–88. Green, Jill. Somatic Authority and the Myth of the Ideal Body in Dance Education. Dance Research Journal, vol. 31, no. 2, 1999, pp. 80–100. Haraway, Donna. Anthropocene, Capitalocene, Plantationocene, Chthulucene: Making Kin. Environmental Humanities 6, no. 1 (2015): 159–65. Hirsch, Marianne. Editor’s Column: What’s Wrong with These Terms? A Conversation with Barbara Kirshenblatt-Gimblett and Diana Taylor. PMLA, vol. 120, no. 5, 2005, pp., 1497–1508. Hobgood, Allison. An Introduction: On Caring. Pedagogy: Critical Approaches to Teaching Literature, Language, Composition, and Culture, vol. 15, no. 3, Duke University Press, Oct. 2015, pp. 413–19. Jolly, Stephen. Understanding body language: Birdwhistell’s Theory of Kinesics. Corporate Communications; Bradford Vol. 5, Is. 3, (2000): 133-139. Keleman, S. Forming an Embodied Life: The Difference between Being Bodied and Forming an Embodied Life, International Body Psychotherapy Journal The Art and Science of Somatic Praxis Volume 11, Number 1, 2012 pp 51-56. Kress, E., Mouritzen, L., Samson, K., Pearsall, J., Rao, S., & Ruth, C. Embodiment and Social Distancing: Performances. Journal of Embodied Research, 3(2), 2 (24:24), 2020. Lévêque, M. Psychosurgery, Chapter 2: The Neuroanatomy of Emotions. 2014. Lykke, Nina. Making Live and Letting Die: Cancerous Bodies between Anthropocene Necropolitics and Chthulucene Kinship. Environmental Humanities 11:1 2019. Maclaren, Kym. Intimacy and embodiment: An introduction. Emotion, Space & Society, 13, 2014, 55-64. Maclaren, K. Touching Matters: Embodiment of Intimacy. Emotion, Space & Society, 13, 2014, 95-102. Merleau-Ponty, M. The Phenomenology of Perception. London: Routledge and Kegan Paul, 1962. Minor, Horace. Body Rituals Among the Nacirema. 1949. Nellhaus, Tobin. Online Role-Playing Games and the Definition of Theatre. New Theatre Quarterly, vol. 33, no. 4, 2017, pp. 345–359. Ngũgĩ was Thiong’o. Enactments of Power: The Politics of Performance Space. TDR (1988), vol. 41, no. 3, 1997, pp. 11–30. Nguyễn, T. T., & Östersjö. S. Performative Ethnographies of Migration and Intercultural Collaboration in Arrival Cities: Hanoi. Journal of Embodied Research, 3(1), 1 (25:10), 2020. Okhlopkov, et al. Meyerhold’s Bio-Mechanic Exercises (A Photographic Series). The Drama Review: TDR, vol. 17, no. 1, 1973, pp. 113–123. Oliveros, Pauline. Tripping on Wires: The Wireless Body: Who is Improvising? Critical Studies in Improvisation / Études critiques en improvisation 1.1, 2004. Poletti, Anne. Periperformative Life Narrative: Queer Collages. GLQ: A Journal of Lesbian and Gay Studies. Duke, 22:3, 2016. Porges, Stephen W. The polyvagal perspective. Biological Psychology 74 (2007) 116–143. Puar, Jasbir K. Bodies with New Organs: Becoming Trans, Becoming Disabled. Social Text 1 September 2015; 33 (3 (124)): 45–73. Rajagopalan, Kanavillil. Corporeality in Metaphor Studies: Why It Is So Easy To Miss The Point. D.E.L.T.A., 26: especial, 2010 (535-543). Riccio, Thomas. Body, Space and Place: Creating Indigenous Performance. In Leveton, E. (ed.) Healing Collective Trauma Using Sociodrama and Drama Therapy, Springer. Rounthwaite, Adair. From This Body to Yours: Porn, Affect, and Performance Art Documentation. Camera Obscura 78, Volume 26, Number 3, 2011. Rufo, R., Ben-David, A., Cary, C. A., Borland-Sentinella, D., Phillips, L. G., Owen, A., Creative, A. Embodiment & Social Distancing: Practices. Journal of Embodied Research, 3(2), 3 (27:50), 2020. Rutherford, A. What Is Body, What Is Space? Performance and the Cinematic Body in a Non- Anthropocentric Cinema. Arts, 2017, 6, 19. Sandahl, Carrie. Using Our Words: Exploring Representational Conundrums in Disability Drama and Performance. 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CURATED TED TALKS August Berger | Change Your Life with the Alexander Technique | TEDxYouth@NBPS Annie Bosler and Don Greene | How to practice effectively…for just about anything | TED Talk Emma Bryce | How do your hormones work? | TED Talk | 2018 Ben Cameron | Why the live arts matter | TED Talk | 2010 Jack Choi | On the virtual dissection table | TED Talk | 2012 Amy Cuddy | Your body language may shape who you are | TED Talk | 2012 Karen Davis | How you’re your body respond to pain? | 2014 Adie Delaney | An aerialist on listening to your body’s signals | TED Talk | 2020 Murat Dalkilinç | Why sitting is bad for you | TED Talk Alice Dreger | Is anatomy destiny? | TED Talk | 2011 Juan Enriquez | What will humans look like in 100 years? | TED Talk | 2016 Juan Enriquez | The next species of human | TED Talk | 2009 Eve Ensler | Suddenly, my body | TED Talk | 2010 David Epstein | Are athletes really getting faster, better, stronger? | TED Talk | 2014 Oskar Eustis | Why theater is essential to democracy | TED Talk | 2018 Alex Gendler | Why should you read “The Master and Margarita”? | TED Talk Antony Gormley | Sculpted space, within and without | TED Talk | 2012 Natalie Gunn | The mind-body problem of scientific discovery | TED Talk David Ian Howe | A brief history of dogs | TED Talk Bill T. Jones | The dancer, the singer, the cellist … and a moment of creative magic | TED Talk | 2015 Gaspard Koenig | Do we really own our bodies? | TED Talk David Korins | Three ways to create a space that moves you, from a Broadway set designer | TED | 2018 Katherine Kuchenbecker | The technology of touch | TED Talk Miwa Matreyek | Glorious visions in animation and performance | TED Talk | 2010 Wayne McGregor | A choreographer’s creative process in real time | TED Talk | 2012 Lucy McRae | How can technology transform the human body? | TED Talk | 2012 Kathy Mendias | The mood-boosting power of crying | TED Talk | 2020 Lee Mokobe | A powerful poem about what it feels like to be transgender | TED Talk | 2015 Marily Oppezzo | Want to be more creative? Go for a walk | TED Talk | 2017 Joshua W. Pate | The mysterious science of pain | TED Talk | 2019 Joshua W. Pate | The fascinating science of phantom limbs | TED Talk Clifford Robbins | What happens when you have a concussion? | TED Talk Colin Roberson | Improv Everywhere: A TED speaker’s worst nightmare | TED Talk | 2012 Patsy Rodenburg | Why I do theater | TED Talk | 2008 Vanessa Ruiz | The spellbinding art of human anatomy | TED Talk | 2015 Kaitlyn Sadtler | How we could teach our bodies to heal faster | TED Talk | 2018 Mallika Sarabhai | Dance to change the world | TED Talk Damion Searls | How does the Rorschach inkblot test work? | TED Talk Anil Seth | Your brain hallucinates your conscious reality | TED Talk | 2017 Sonya Renee Taylor | Bodies as Resistance: Claiming the political act of being oneself | TEDxMarin | 2017 Sophia Wallace | A case for cliteracy | TED Talk Talithia Williams | Own your body’s data | TED Talk | 2014 Russell Wilson | My secret to staying focused under pressure | TED Talk | 2020. ADDITIONAL SUGGESTED BOOKS Adams, Rachel, B. Reiss, & D. Serlin. Keywords for Disability Studies. NYU Press, 2015. Austin, J. L. How To Do Things With Words: The William James Lectures Delivered at Harvard University in 1955. Oxford, 1975. Brown, Nicole, and Jennifer Leigh, (Eds.). Ableism in Academia: Theorising Experiences of Disabilities and Chronic Illnesses in Higher Education. UCL Press, 2020. Cooper Albright, Ann. How to Land: Finding Ground in an Unstable World. Oxford, 2019. Currah, Paisley & Susan Stryker. Postposttranssexual: Key Concepts for a 21st-Century Transgender Studies. TSQ: Transgender Studies Quarterly, Volume 1, Numbers 1–2, 2014. de Roza, E., Fari, N. S., Hagan, C., & Spatz, B. (Eds.). Embodiment and Social Distancing. Journal of Embodied Research, 3(2), 1 (8:29), 2020. Falletti, Sofia. Theatre and Cognitive Neuroscience. Bloomsbury Publishing, 2016. Foucault, Michel. Discipline & Punish: The Birth of the Prison. Alan Sheridan, trans. NY: Pantheon, 1975. Halberstam, J. The Queer Art of Failure. Duke, 2011. Haraway, Donna Jeanne. Staying with the Trouble: Making Kin in the Chthulucene. Duke, 2016. Kristeva, Julia. Powers of Horror: An Essay on Abjection, New York: Columbia, 1982. Leavy, Patricia. Method Meets Art: Arts-Based Research Practice. Guilford, 2020. Leavy, Patricia. Handbook of Arts-Based Research. Guilford, 2017. Leeker, Martina, Imanuel Schipper, Timon Beyes. (Eds.). Performing the Digital: Performativity and Performance Studies in Digital Cultures. transcript: Verlag, Bielefeld, 2017. Loveless, N. How to Make Art at the End of the World: A Manifesto for Research-Creation. Duke, 2019. Merleau-Ponty, M. Phenomenology of Perception. Trans. C. Smith, Routledge, 1945. Phelan, Peggy. Unmarked: The Politics of Performance. New York: Routledge, 1993. Pink, Sarah. Situating Everyday Life: Practices and Places. London: Sage, 2012. Sandahl, C. & Philip Auslander. Bodies in Commotion: Disability & Performance. University of Michigan Press, 2009. Spatz, Ben. Making a Laboratory Dynamic Configurations with Transversal Video.” Punctum, 2020. Taylor, Diana. ¡Presente! the Politics of Presence. Duke, 2020. Zarrilli, Philip. Acting (Re)Considered: A Theoretical & Practical Guide. 2nd ed., Routledge, 2002. RESOURCE BOOKS THEORY Brune, Jeffrey and Wilson, Daniel. Disability and Passing: Blurring the Lines of Identity. Philadelphia, PA: Temple University Press, 2013. Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity, New York and London: Routledge, 09/1999. De Certeau, Michel. The Practice of Everyday Life. University of California Press, 1984. Edelman, Lee. No Future: Queer Theory and the Death Drive, Durham, NC: Duke University Press, 2004. Gilman, Sander. Making the Body Beautiful: A Cultural History of Aesthetic Surgery. Princeton, New Jersey: Princeton, 1999. Goffman, Erving. The Presentation of Self in Everyday Life. New York, Anchor, 1959. Hennessy, Rosemary. Profit and Pleasure: Sexual Identities in Late Capitalism, New York and London: Routledge, 2000. Johnson, E. P. Appropriating Blackness: Performance and the Politics of Authenticity. Durham, NC: Duke University Press, 2003. LaQueur, Thomas. Making Sex: Body and Gender from the Greeks to Freud. Cambridge, Massachusetts: Harvard, 1990. Puar, Jasbir. Terrorist Assemblages: Homonationalism in Queer Times, Durham NC: Duke University Press, 2007. Race, Kane. Pleasure Consuming Medicine: The Queer Politics of Drugs, Durham and London: Duke University Press, 2009. Senelick, Laurence. The Changing Room: Sex, Drag and Theatre. Florence, KY: Routledge, 2000. Van der Kolk, Bessel A. The Body Keeps the Score: Brain, Mind, and Body in the Healing of Trauma. Penguin Books, 2015. Weeks, Jeffrey. Sexuality, Florence, KY: Routledge, 09/2003. Wegenstein, Bernadette. The Cosmetic Gaze: Body Modification and the Construction of Beauty. Cambridge, MA: MIT Press, 2012. PRACTICE Chance, Jeremy. Principles of the Alexander Technique What It Is, How It Works, and What It Can Do for You. 2nd ed., Singing Dragon, 2013. Feldenkrais, Moshé. Awareness through Movement: Health Exercises for Personal Growth. Harper- Collins. ed., Harper San Francisco, 1990. Feldenkrais, Moshé. The Elusive Obvious: or, Basic Feldenkrais. Meta Publications, 1981. Lowen, Alexander., and Alexander. Lowen. The Language of the Body. Collier Books, 1971. Reeve, Sandra. ed. Body and Performance: Ways of Being a Body, Devon: Triarchy Press, 2013. |