Title: Bodies in archival situations : editorial
Source document: Theatralia. 2022, vol. 25, iss. 2, pp. 7-13
Extent
7-13
-
ISSN1803-845X (print)2336-4548 (online)
Persistent identifier (DOI): https://doi.org/10.5817/TY2022-2-1
Stable URL (handle): https://hdl.handle.net/11222.digilib/digilib.77244
Type: Editorial; Editorial note
Language
License: CC BY-NC-ND 4.0 International
Notice: These citations are automatically created and might not follow citation rules properly.
References
[1] AGAMBEN, Giorgio. 2002. Remnants of Auschwitz: The Witness and the Archive. New York: Zone Books, 2002.
[2] BUTLER, Judith. 2017. When Gesture Becomes Event. In Anna Street et al. (eds.). Inter View in Performance Philosophy. London: Palgrave, 2017: 171–191.
[3] CARLSON, Marvin A. 2003. The Haunted Stage: The Theatre as Memory Machine. Ann Arbor: University of Michigan Press, 2003.
[4] FRANKO, Mark (ed.). 2017. The Oxford Handbook of Dance and Reenactment. New York: Oxford University Press, 2017.
[5] LEPECKI, André. 2010. The Body as Archive: Will to Re-Enact and the Afterlives of Dances. Dance Research Journal 42 (2010): 2: 28–48.
[6] MUÑOZ, José Esteban. 1999. Disidentifications: Queers of Color and the Performance of Politics. Minneapolis: University of Minnesota Press, 1999.
[7] ROKEM, Freddie. 2000. Performing History: Theatrical Representations of the Past in Contemporary Theatre. Iowa City: University of Iowa Press, 2000.
[8] ROSELT, Jens and Ulf OTTO (eds.). 2020. Theater als Zeitmaschine: zur performativen Praxis des Reenactments: Theater– und kulturwissenschaftliche Perspektiven. Bielefeld: transcript, 2012.
[9] SAJEWSKA, Dorota. 2019. Necroperformance: Cultural Reconstructions of the War Body. Transl. by Simon Wloch. Zurich: Diaphanes, 2019.
[10] SCHNEIDER, Rebecca. 2011. Performing Remains: Art and War in Times of Theatrical Reenactment. New York: Routledge, 2011.
[2] BUTLER, Judith. 2017. When Gesture Becomes Event. In Anna Street et al. (eds.). Inter View in Performance Philosophy. London: Palgrave, 2017: 171–191.
[3] CARLSON, Marvin A. 2003. The Haunted Stage: The Theatre as Memory Machine. Ann Arbor: University of Michigan Press, 2003.
[4] FRANKO, Mark (ed.). 2017. The Oxford Handbook of Dance and Reenactment. New York: Oxford University Press, 2017.
[5] LEPECKI, André. 2010. The Body as Archive: Will to Re-Enact and the Afterlives of Dances. Dance Research Journal 42 (2010): 2: 28–48.
[6] MUÑOZ, José Esteban. 1999. Disidentifications: Queers of Color and the Performance of Politics. Minneapolis: University of Minnesota Press, 1999.
[7] ROKEM, Freddie. 2000. Performing History: Theatrical Representations of the Past in Contemporary Theatre. Iowa City: University of Iowa Press, 2000.
[8] ROSELT, Jens and Ulf OTTO (eds.). 2020. Theater als Zeitmaschine: zur performativen Praxis des Reenactments: Theater– und kulturwissenschaftliche Perspektiven. Bielefeld: transcript, 2012.
[9] SAJEWSKA, Dorota. 2019. Necroperformance: Cultural Reconstructions of the War Body. Transl. by Simon Wloch. Zurich: Diaphanes, 2019.
[10] SCHNEIDER, Rebecca. 2011. Performing Remains: Art and War in Times of Theatrical Reenactment. New York: Routledge, 2011.