Rebecca Schneider, “Performance Remains”
! – Schneider suggests that when one reads a document of a performance, they read the document as “a site of performance” (105). This stood out to me because a document such as this describes the performance through the eyes of the document’s creator; in this sense, the documenter performs. Thus, the archived information must be read as both a detailing of performance and a creation of performance.
? – I got caught up in Schneider’s idea that performance can remain on the stage, but it remains “differently” than its original form (105). IA changed performance might be received in ways that differ from the creator’s intention, so can it still be considered a form of the original performance?
Nicholas Birns, “Ritualizing the Past: Ralph Lemon’s Counter-Memorials”
! – Birn’s phrase “the body serves as a distilled history” stuck out to me most, since “distilling” means extracting the most important part of something (19). Using the body in performance compels the audience to focus on the parts of history that the performer believes are most essential.
? – Birns mentions that Lemon’s drawings have a performative quality to them, for they “provide information, as well as the artist’s own perspective on it” (19). We so often consider performance as an act involving live movement, but should we begin to consider all art forms as acts of performance?