LEADER 04392oam 22006014a 450 001 9910140449503321 005 20241009211951.0 035 $a(CKB)2670000000557893 035 $a(WaSeSS)IndRDA00059284 035 $a(OCoLC)1176455017 035 $a(MdBmJHUP)muse87132 035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/36325 035 $a(EXLCZ)992670000000557893 100 $a20200721e20202013 uy 0 101 0 $aeng 135 $aurbu#|||u|uuu 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aItinerant Spectator/Itinerant Spectacle$fP.A. Skantze 210 $aBrooklyn, NY$cpunctum books$d2013 210 1$aBaltimore, Maryland :$cProject Muse,$d2020 210 4$dİ2020 215 $a1 online resource (252 pages) $cillustrations; digital, PDF file(s) 311 08$aPrint version: 0615858961 320 $aIncludes bibliographical references (pages 249-252). 327 $aIntroduction : weathered thresholds -- Satisfaction -- Sound -- Structures -- Senses -- States -- Epilogue. 330 $aItinerant Spectator/Itinerant Spectacle moves across the landscape of European performance in the late 20th and early 21st centuries, recounting performance in circulation across national borders and across the itinerant bodies of spectators who travel to meet performances that travel. Itinerant Spectator/Itinerant Spectacle suggests spectating is a practice -- an act of interpretation engaged in more than simply receiving the affects of a performance, a companion practice to the making of performance. The work forms a part of Skantze's ongoing explorations of what she terms the 'epistemology of practice as research.' IS/IS theorizes spectating as a practice that extends beyond the theatre, as a practice of writing as recollecting (and recollecting as writing) at the center of what has been called "criticism." The book grounds spectatorship in the subjective, embodied, differenced practice of spectating not from a fixed location or standpoint but from a ground that constantly shifts, that is, from the ground of the roving positionalities of the "itinerate spectator." Following Walter Benjamin, for example, Skantze importantly adopts the privileges of the flaneur as a feminist and rather queer project, one that refuses to be tied to the minor position, to that of the impossible "flaneuse." The methodology of the book takes inspiration from the writings of W.G. Sebald and his employment of something Skantze describes as "a staging of memory," a way to offer the reader an example of how memory works in the midst of a description of a particular recollection. This construction invites the reader/participant to 'discover,' to 'remember' alongside the writer. Further, this methodology invites the reader to incorporate her/his own ideas and memories of the practice of spectating through an openness in the language of remembering and description. Individual sections of the book demonstrate spectating as itinerant 'on the job training' in various modes of reception. Topics include: the idea of reparation in performance about nations, the past and injustice; the power of sound and the intricacies of seeing/hearing performance in many languages; the architectural information absorbed by the spectator and its role in fashioning story; the shifts made in spectating at festivals between theatre and dance; and the political consequences and traps of mobility and immobility. 606 $aActing$xPsychological aspects 606 $aActing$xPhilosophy 606 $aActing$xStudy and teaching 606 $aActors$xTraining of 606 $aTheater audiences$xStudy and teaching 606 $aTheater$xStudy and teaching 610 $atheater 610 $aperformance studies 610 $acultural studies 610 $adrama 615 0$aActing$xPsychological aspects. 615 0$aActing$xPhilosophy. 615 0$aActing$xStudy and teaching. 615 0$aActors$xTraining of. 615 0$aTheater audiences$xStudy and teaching. 615 0$aTheater$xStudy and teaching. 676 $a792.02/8 700 $aSkantze$b P. A.$f1957-$0802598 712 02$aProject Muse, 801 0$bMdBmJHUP 801 1$bMdBmJHUP 906 $aBOOK 912 $a9910140449503321 996 $aItinerant Spectator$91803909 997 $aUNINA