Embodying an Hemispheric Political Perspective: Diana Taylor’s Cultural Practices

This interview with Diana Taylor, which took place at the Hemispheric Institute of Performance and Politics in August 2012, touches upon several issues. First Diana Taylor focuses on the innovative nature of Performance Studies, having as its object of study an object of analysis that is never given...

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Main Author: Carmela Cutugno
Format: Article
Language:Italian
Published: Edizioni Museo Pasqualino 2020-10-01
Series:Mantichora
Online Access:https://cab.unime.it/journals/index.php/IJPS/article/view/2769
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spelling doaj-4bf910f9f08945b8b2290a1477f2f7df2020-11-25T04:11:20ZitaEdizioni Museo PasqualinoMantichora2240-53802020-10-014010.6092/2240-5380/4.2014.852179Embodying an Hemispheric Political Perspective: Diana Taylor’s Cultural PracticesCarmela Cutugno0Università di BolognaThis interview with Diana Taylor, which took place at the Hemispheric Institute of Performance and Politics in August 2012, touches upon several issues. First Diana Taylor focuses on the innovative nature of Performance Studies, having as its object of study an object of analysis that is never given “a priori”, but that, instead, has to be created and circumscribed from time to time. In this sense she emphasizes the methodological effectiveness of Performance Studies in stepping forward as an analytical lens aiming at investigating various forms of behavior and “embodied” cultural practices, understood as forms of transmission of meaning. Secondly, turning the attention to the work done with her Hemispheric Institute of Performance and Politics, Diana Taylor highlights the political value inherent in the performative expressions and examines both the important connection between theory and practice in the field of Performance Studies, and the transdisciplinary or postdisciplinary dimension that characterizes it. Finally, reflecting on the ontology of performance, she affirms that, resulting from a mix of codes and conventions, performance never “happens” for the first time, and that any attempt to “save” or “preserve” it is intended to fail.https://cab.unime.it/journals/index.php/IJPS/article/view/2769
collection DOAJ
language Italian
format Article
sources DOAJ
author Carmela Cutugno
spellingShingle Carmela Cutugno
Embodying an Hemispheric Political Perspective: Diana Taylor’s Cultural Practices
Mantichora
author_facet Carmela Cutugno
author_sort Carmela Cutugno
title Embodying an Hemispheric Political Perspective: Diana Taylor’s Cultural Practices
title_short Embodying an Hemispheric Political Perspective: Diana Taylor’s Cultural Practices
title_full Embodying an Hemispheric Political Perspective: Diana Taylor’s Cultural Practices
title_fullStr Embodying an Hemispheric Political Perspective: Diana Taylor’s Cultural Practices
title_full_unstemmed Embodying an Hemispheric Political Perspective: Diana Taylor’s Cultural Practices
title_sort embodying an hemispheric political perspective: diana taylor’s cultural practices
publisher Edizioni Museo Pasqualino
series Mantichora
issn 2240-5380
publishDate 2020-10-01
description This interview with Diana Taylor, which took place at the Hemispheric Institute of Performance and Politics in August 2012, touches upon several issues. First Diana Taylor focuses on the innovative nature of Performance Studies, having as its object of study an object of analysis that is never given “a priori”, but that, instead, has to be created and circumscribed from time to time. In this sense she emphasizes the methodological effectiveness of Performance Studies in stepping forward as an analytical lens aiming at investigating various forms of behavior and “embodied” cultural practices, understood as forms of transmission of meaning. Secondly, turning the attention to the work done with her Hemispheric Institute of Performance and Politics, Diana Taylor highlights the political value inherent in the performative expressions and examines both the important connection between theory and practice in the field of Performance Studies, and the transdisciplinary or postdisciplinary dimension that characterizes it. Finally, reflecting on the ontology of performance, she affirms that, resulting from a mix of codes and conventions, performance never “happens” for the first time, and that any attempt to “save” or “preserve” it is intended to fail.
url https://cab.unime.it/journals/index.php/IJPS/article/view/2769
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