9 dic. 2008

Here is my third post on this subject. Here the idea is to give a list of things I don't know, in the form of questions.

What are the major unresolved problems of performance theory, its shortcomings, its theoretical "gaps"? What are its controversies? Does it have rival schools or does it share a single central paradigm? Is performance theory a set of analytical tools for looking at performances, or a true "theory"? How does its ideological presuppositions determine its strengths and limitations? How does the choice of object studied determine the shape of the "theory" itself, in other words, does it make a difference whether drama, poetry, or dance becomes the paradigmatic object? How does its historical development influence its present state?

How could it be fruitfully compared to other theoretical subfields, like film theory, narratology, the theory of translation?

Where is it headed? What is the future project of performance theory?

1 comentario:

John dijo...

Interesting questions. It seems you might want to put them to a group of performance theorists -- or "performance studies faculty" -- rather than poets and jazz hounds, if you really want answers.