By: Caison Gray
! : “Clearly concatenations of primitivism and attendant racisms attach, in turn, to attempts to acknowledge performance as an appropriate means of remaining, of remembering” (102). Schneider’s belief that it is primitivism and racism that coincide with performance as a method to preserve history was difficult to comprehend. To think racism contributes to this thought process seems unpopular but makes sense as a way through which people have begun to realize performance as a powerful preservation tool.
? : If performance is not the presence of “remains” but rather the “missed encounter, […the] reverberations of the overlooked, the missed, the repressed, [and] the seemingly forgotten,” (104), does performance studies validate memory as a means of preservation? Or does it simply provide a skeleton for historicizing the uncapturable?
! : “The ultra-historicism of official memorials make us assume that the past is finished, when we still have the power to construct it” (22). Without a critical eye and the belief that each reapplication to a subject or event is an “iteration,” we risk falling into complacency in relation to the established beliefs of the past.
? : “In Tree, he conjures a performative idiom literate in many languages, musical and gestural, Western and non-Western” (18). What is a performative idiom?