LEADER 02449oam 2200577I 450 001 9910809978003321 005 20191121031126.0 010 $a1-280-88049-X 010 $a9786613721808 010 $a0-472-02900-2 024 7 $a10.3998/mpub.359575 035 $a(CKB)2550000000104493 035 $a(EBL)3415066 035 $a(SSID)ssj0000745159 035 $a(PQKBManifestationID)11470299 035 $a(PQKBTitleCode)TC0000745159 035 $a(PQKBWorkID)10852051 035 $a(PQKB)11265654 035 $a(MiU)10.3998/mpub.359575 035 $a(MiAaPQ)EBC3415066 035 $a(EXLCZ)992550000000104493 100 $a20090817h20102010 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aCutting performances $ecollage events, feminist artists, and the American avant-garde /$fJames M. Harding 210 1$aAnn Arbor, Michigan :$cUniversity of Michigan Press,$d[2010] 210 4$dİ2010 215 $a1 online resource (235 p.) 225 1 $aTheater : theory/text/performance 300 $aDescription based upon print version of record. 311 $a0-472-03520-7 320 $aIncludes bibliographical references and index (pages 215-222). 327 $aToward a feminist historiography of American avant-garde performance: theories and contexts -- Nude descending Bleecker Street: Baroness Elsa Von Freytag-Loringhoven and performing gender in New York dada -- Avant-garde performance, collage aesthetics, and feminist historiographies in Gertrude Stein's the mother of us all -- Between material and matrix: Yoko Ono's cut piece and the unmaking of collage -- Between dialectics, decorum, and collage: sabotaging Schneemann at the Dialectics of Liberation Congress, London 1967 -- Forget fame: Valerie Solanas, the simplest surrealist act, and the (re)assertion of avant-garde priorities -- Conclusion: Collage and community. 410 0$aTheater--theory/text/performance. 606 $aFeminist theater 606 $aExperimental theater 615 0$aFeminist theater. 615 0$aExperimental theater. 676 $a792.022 700 $aHarding$b James M$01711266 702 $aHarding$b James Martin 712 02$aMichigan Publishing (University of Michigan), 801 0$bEYM 801 1$bEYM 906 $aBOOK 912 $a9910809978003321 996 $aCutting performances$94102458 997 $aUNINA