Description
Performing Publics continues the creative partnership between PR and PSi and arises from and responds to the 16th PSi conference which was held in Toronto in June 2010. Performing Publics explores how the word “public” has reverberated through performance studies by taking up several genealogies and meanings of the term. The contributors to this collection examine the enactment of “public” both as a form of social activism – a means rehearsing, querying, and producing alternative forms of local and global citizenship – and also as a form of social legitimation and exclusion. They remind us that the idea of “public” is inseparable from the body and argue for the centrality of affect in moving beyond public/private binaries and in articulating political identities.
Editorial: Performing Publics
Laura Levin, Marlis Schweitzer
pp. 1 – 6
[artist’s pages] A proposal for ‘the worst public artwork’ contest
Guillermo Gómez-Peña
pp. 7
Working Publics
Shannon Jackson
pp. 8 – 13
[artists’ pages] Lesbian National Parks & Services
Shawna Dempsey, Lorri Millan
pp. 14 – 15
Rethinking the Public Sphere for a Global Age
Janelle Reinelt
pp. 16 – 27
‘Identity Correction’: The Yes Men and acts of discursive ‘leverage’
Louise Owen
pp. 28 – 35
[artist’s pages] A proposal for ‘the worst public artwork’ contest
Guillermo Gómez-Peña
pp. 36
Embarrassing Time, Performing Disunity: Rugby, the haka, and Aotearoa-New Zealand in the United Kingdom
Ryan Hartigan
pp. 37 – 43
You Talkin’ to Me?: Eavesdropping on the Conversation at Te Matatini Maori Performing Arts Festival
Sharon Mazer
pp. 44 – 49
Aging Provocateurs and Spect(er)acular Pub(l)ic Performances
Erica Stevens Abbitt, Johanna Frank, Geraldine (Gerry) Harris
pp. 50 – 56
Performing the National Interest?: Mother Courage at the National Theatre in London and Ottawa
Megan Macdonald
pp. 57 – 63
[artist’s pages] A proposal for ‘the worst public artwork’ contest
Guillermo Gómez-Peña
pp. 64
Street Church and Service as Salutation: The public ecclesiology of the South of Market Episcopal churches
Claire Maria Chambers (Blackstock)
pp. 65 – 73
Making Mourning Show: Hamlet and affective public-making
Kate Welch
pp. 74 – 82
Reviving Feeling: Performing Robert. F. Kennedy in Kentucky
Lindsay B. Cummings
pp. 83 – 90
Pilgrimage as Utopian Performative for a Post-Colonial Counterpublic
Jazmin Badong Llana
pp. 91 – 96
Unwitting Performances of Transparency: Monitoring the travelling public, managing airport affect
Rachel Hall
pp. 97 – 104
‘Barack Me Tonight’: Re-sounding politics via the Interweb
T. Nikki Cesare
pp. 105 – 112
Democracy and Neoliberalism in Art’s Social Turn and Roger Hiorns’s Seizure
Jen Harvie
pp. 113 – 122
[artist’s pages] A proposal for ‘the worst public artwork’ contest
Guillermo Gómez-Peña
pp. 123
(Dia)logics of Difference: Disability, performance and spectatorship in Liz Crow’s Resistance on the Plinth
Bree Hadley
pp. 124 – 131
Public Pie: Performing public space
Sigrid Merx
pp. 132 – 137
Polls and Publics: The role of cultural pluralism in the imagined Canadian city
Keren Zaiontz
pp. 138 – 144
If Ya Liked It, Then You Shoulda Made a Video: Beyoncé Knowles, YouTube and the public sphere of images
Kirsten Pullen
pp. 145 – 153
Yes, There Is a Joseph Wagenbach : History and the performativity of what might be true
Cecilia Aldarondo
pp. 154 – 162
[artists’ pages] The Leona Drive Project : A Public Access + L.O.T. Project
Janine Marchessault, Michael J. Prokopow
pp. 164 – 169
Acts of Exposure and Erasure in Katsushige Nakahashi’s Zero
Jessica Nakamura
pp. 170 – 174
The Empty Stage : Matthew Buckingham’s pursuit of Amos Fortune
Jane Blocker
pp. 175 – 181
On ‘Publics’ : A feminist constellation of key words
Jill Dolan
pp. 182 – 185
[artist’s pages] A proposal for ‘the worst public artwork’ contest
Guillermo Gómez-Peña
pp. 186
Notes on Contributors
pp. 187 – 189
[artist’s pages] A proposal for ‘the worst public artwork’ contest
Guillermo Gómez-Peña
pp. 189
