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The challenges and limits for musicians dealing with texts. To perform a musical score implies the transformation of a symbolically coded text into vibrant sound. In Performing by the Book? a carefully selected cadre of artist-researchers dissects this delicate act in critical ways. Offering first-hand insights into the notational, structural and interpretative challenges faced by musicians in dealing with texts of all kinds, the chapters traverse the spectrum between the Middle Ages and the age of Stockhausen. In a harmonious blend of scholarly allure and individual artistry, free from academic obfuscation, the contributors keep a keen eye on the limits of interpretation, both in terms of the interpretative process itself and of the balance between textual faithfulness and artistic autonomy. This comprehensive volume is an indispensable guide for everyone interested in the relationship between musical performance and texts. Contributing authors: Niels Berentsen (Haute école de musique de Genève-Neuchâtel (HES-SO) / conductor of Diskantores), Björn Schmelzer (artistic director of Graindelavoix / independent researcher), Jonathan Ayerst (freelance organist and improviser), Elizabeth Dobbin (Le Jardin Secret / Haute école de musique de Genève (HES-SO)), Camilla Köhnken (freelance pianist-researcher / Bern Academy of the Arts), George Kennaway (cellist, conductor, teacher, publisher and musicologist / University of Leeds), Kate Bennett Wadsworth (cellist / Guildhall School of Music and Drama), Nir Cohen-Shalit (conductor and independent researcher), Xiangning Lin (pianist / Yong Siew Toh Conservatory of Music, National University of Singapore), Clare Lesser (independent performer, musicologist and composer). Ebook available in Open Access. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

Alles, was sich zwischen Menschen vollzieht, ist performativ wirksam und kann daraufhin überprüft und (um-)gestaltet werden. Die Wechselwirkungen zwischen der Performativität akademischer und gesellschaftlicher Wirklichkeiten bleiben jedoch häufig unterreflektiert. Anna Suchard zeigt, dass sich insbesondere zwischen den impliziten Normativitäten des zunehmend linearisierend agierenden Hochschulbetriebs und gesellschaftlich formulierten Zielen enorme Widersprüche bilden. Ihre dramaturgische Analyse, wie die konkrete Herstellung dieser Wirklichkeiten geschieht, lässt die Widersprüche sichtbar und verhandelbar werden - Rückenwind für all jene, die sich für eine ernst gemeinte Inter- und Transdisziplinarität einsetzen.

The Performative Power of Vocality offers a fresh perspective on voice as a subject of critical inquiry by employing an interdisciplinary and cross-cultural approach. Conventional treatment of voice in theatre and performance studies too often regards it as a subcategory of actor training, associated with the established methods that have shaped voice pedagogy within Western theatre schools, conservatories, and universities. This monograph significantly deviates from these dominant models through its investigation of the non-discursive, material, and affective efficacy of vocality, with a focus on orally transmitted vocal traditions. Drawing from her performance training, research collaborations, and commitment to cultural diversity, Magnat proposes a dialogical approach to vocality. Inclusive of established, current, and emerging research perspectives, this approach sheds light on the role of vocality as a vital source of embodied knowledge, creativity, and well-being grounded in process, practice, and place, as well as a form of social and political agency. An excellent resource for qualitative researchers, artist-scholars, and activists committed to decolonization, cultural revitalization, and social justice, this bookopens up new avenues of understanding across Indigenous and Western philosophy, performance studies, musicology, ethnomusicology, sound and voice studies, anthropology, sociology, phenomenology, cognitive science, physics, ecology, and biomedicine. The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

"The Routledge Companion to Performance Philosophy is a volume of especially commissioned critical essays, conversations, and collaborative, creative and performative writing mapping the key contexts, debates, methods, discourses and practices in this developing field. Firstly, the collection offers new insights on the fundamental question of how thinking happens: where, when, how and by whom philosophy is performed. Secondly, it provides a plurality of new accounts of performance and performativity – as the production of ideas, bodies and knowledges in the arts and beyond. Comprising texts written by international artists, philosophers and scholars from multiple disciplines, the essays engage with questions of how performance thinks and how thought is performed in a wide range of philosophies and performances, from the ancient to the contemporary. Concepts and practices from diverse geographical regions and cultural traditions are analysed to draw conclusions about how performance operates across art, philosophy and everyday life. The collection both contributes to and critiques the philosophy of music, dance, theatre and performance, exploring the idea of a philosophy from the arts. It is crucial reading material for those interested in the hierarchy of the relationship between philosophy and the arts, advancing debates on philosophical method, and the relation between Performance and Philosophy more broadly."

In a world undergoing constant media-driven change, the infrastructures, materialities, and temporalities of remains have become urgent. This book engages with the remains and remainders of media cultures through the lens both of theater and performance studies and of media archaeology. By taking “remain” as a verb, noun, state, and process of becoming, the authors explore the epistemological, social, and political implications.

"This ambitious and vivid study in six volumes explores the journey of a single, electrifying story, from its first incarnation in a medieval French poem through its prolific rebirth in the nineteenth and twentieth centuries. The Juggler of Notre Dame tells how an entertainer abandons the world to join a monastery, but is suspected of blasphemy after dancing his devotion before a statue of the Madonna in the crypt; he is saved when the statue, delighted by his skill, miraculously comes to life. Jan Ziolkowski tracks the poem from its medieval roots to its rediscovery in late nineteenth-century Paris, before its translation into English in Britain and the United States. The visual influence of the tale on Gothic revivalism and vice versa in America is carefully documented with lavish and inventive illustrations, and Ziolkowski concludes with an examination of the explosion of interest in The Juggler of Notre Dame in the twentieth century and its place in mass culture today. In this concluding volume, Ziolkowski explores the popularity of The Juggler of Notre Dame from the 1930s through the Second World War, especially in the Allied Resistance. Its popularity in the United States was subsequently maintained by figures as diverse as Tony Curtis and W. H. Auden, and although recently the story and medievalism have lost ground, the future of both holds promise. Presented with great clarity and simplicity, Ziolkowski's work is accessible to the general reader, while its many new discoveries will be valuable to academics in such fields and disciplines as medieval studies, medievalism, philology, literary history, art history, folklore, performance studies, and reception studies."

Restaging the Past is the first edited collection devoted to the study of historical pageants in Britain, ranging from their Edwardian origins to the present day. Across Britain in the twentieth century, people succumbed to ‘pageant fever’. Thousands dressed up in historical costumes and performed scenes from the history of the places where they lived, and hundreds of thousands more watched them. These pageants were one of the most significant aspects of popular engagement with the past between the 1900s and the 1970s: they took place in large cities, small towns and tiny villages, and engaged a whole range of different organised groups, including Women’s Institutes, political parties, schools, churches and youth organisations. Pageants were community events, bringing large numbers of people together in a shared celebration and performance of the past; they also involved many prominent novelists, professional historians and other writers, as well as featuring repeatedly in popular and highbrow literature. Although the pageant tradition has largely died out, it deserves to be acknowledged as a key aspect of community history during a period of great social and political change. Indeed, as this book shows, some traces of ‘pageant fever’ remain in evidence today.

"The Routledge Companion to Performance Philosophy is a volume of especially commissioned critical essays, conversations, and collaborative, creative and performative writing mapping the key contexts, debates, methods, discourses and practices in this developing field. Firstly, the collection offers new insights on the fundamental question of how thinking happens: where, when, how and by whom philosophy is performed. Secondly, it provides a plurality of new accounts of performance and performativity – as the production of ideas, bodies and knowledges in the arts and beyond. Comprising texts written by international artists, philosophers and scholars from multiple disciplines, the essays engage with questions of how performance thinks and how thought is performed in a wide range of philosophies and performances, from the ancient to the contemporary. Concepts and practices from diverse geographical regions and cultural traditions are analysed to draw conclusions about how performance operates across art, philosophy and everyday life. The collection both contributes to and critiques the philosophy of music, dance, theatre and performance, exploring the idea of a philosophy from the arts. It is crucial reading material for those interested in the hierarchy of the relationship between philosophy and the arts, advancing debates on philosophical method, and the relation between Performance and Philosophy more broadly."

Polemik in den Schriften Melchior Hoffmans. Inszenierungen rhetorischer Streitkultur in der Reformationszeit” is a study of pamphlets written as a reaction to, and attempt for, expansion of the Lutheran and Zwinglian Reformation. Melchior Hoffman’s work has, so far, almost solely been investigated by historians of religion and thus focused merely on religious topics and argumentation, and rather seldomly on the literary aspects of his pamphlets – such as rhetorics, argumentation strategies and text compilation. In order to close this gap of research on Melchior Hoffman and – in the sense of a New Historicism approach – give him as a non-canonical author more attention, this book focuses on the literary qualities of the texts. It is thus the first full-length study on Melchior Hoffman by a literary scholar. Not only has little been written on Melchior Hoffman, but also about lay writers in the Reformation at all. Thus, the book delivers new perspectives within the field of Reformation pamphlet writers. Theoretical significance is an integral part of the study, with a focus on developing a new theoretical concept for analyzing polemic texts. The innovative approach combines post-modern theories like (constructivist) Cultural Studies, and Performativity concepts with Communication Analyses and Classical Rhetorics. By doing so, it provides a unique approach to texts from the 16th century, which can easily and reasonably be applied to polemical texts of the 21st century as well as to even older texts than Hoffman’s. The book has been written in the research field of German Literature, but will be of great interest for both literary scholars and historians (of religion or culture)., Als ‚radikaler Reformator‘ geriet Melchior Hoffman immer wieder in Konflikte mit Vertretern der lutherischen und zwinglischen Reformation. Die Auseinandersetzungen über die ‚wahre Lehre Gottes‘ schlugen sich dabei in unterschiedlichen Textsorten und formen nieder: Hoffman stritt in polemischen Einzelschriften, Schriftwechseln sowie einem Reformationsdialog und polemisierte sogar in Bibelkommentaren und Traktaten. Diese Schriften Hoffmans werden hier erstmals unter literaturwissenschaftlichen Gesichtspunkten behandelt. Sie werden als Orte der Performanz einer rhetorischen Streitkultur verstanden, die typisch für die Reformationszeit und generell für religiöse Auseinandersetzungen zwischen Theologie und Laienfrömmigkeit sind: In der schriftlichen Inszenierung des Streits manifestiert sich die komplexe kulturelle Wechselwirkung zwischen den rhetorischen Normen und Traditionen auf der einen und der individuellen Auseinandersetzung mit ihnen auf der anderen Seite. Das textuelle In-Szene-Setzen ist somit als performative Handlung zu verstehen, die Polemik selbst als deren grundlegendes inszenatorisches Prinzip. Kerstin Lundström untersucht Hoffmans Polemik mittels einer Kombination aus Rhetorikanalyse und modernen Methoden der Kommunikations- und Performativitätsanalyse. Das Ergebnis ist die Identifizierung unterschiedlicher Konstellationen der Rede, die maßgeblich mit der sprachlichen Ausgestaltung zusammenwirken. Der Fokus liegt insbesondere darauf, wie die einzelnen Bausteine von Hoffmans vielschichtiger Polemik – auf Text- und auf Kontextebene – ineinander greifen und ihre performative Wirkmächtigkeit entfalten.

Itinerant Spectator/Itinerant Spectacle moves across the landscape of European performance in late 20th and early 21st centuries, recounting performance in circulation across national borders and across the itinerant bodies of spectators who travel to meet performances that travel. Itinerant Spectator/Itinerant Spectacle suggests spectating is a practice — an act of interpretation engaged in more than simply receiving the affects of a performance, a companion practice to the making of performance. The work forms a part of Skantze’s ongoing explorations of what she terms the ‘epistemology of practice as research.’ IS/IS theorizes spectating as a practice that extends beyond the theatre, as a practice of writing as recollecting (and recollecting as writing) at the center of what has been called “criticism.” The book grounds spectatorship in the subjective, embodied, differenced practice of spectating not from a fixed location or standpoint but from a ground that constantly shifts, that is, from the ground of the roving positionalities of the “itinerate spectator.” Following Walter Benjamin, for example, Skantze importantly adopts the privileges of the flaneur as a feminist and rather queer project, one that refuses to be tied to the minor position, to that of the impossible “flaneuse.”

How is performativity shaped by digital media – and how do performance practices themselves reflect and alter techno-social configurations? Performing the Digital inquires into the technological terms and conditions of performance and performance studies, and maps and theorizes the registers of performance at work in digital cultures. The contributions range from the performativity of algorithms and digital devices to the modulation of affect, atmospheres and the body; from performing cities, protest, organization and the economy to the scholarly performances of research.

How did Shakespere intend that his plays be read? Rhythm and Meaning in Shakespeare explores the rhythmical organisation of Shakespeare’s verse and how it creates and reinforces meaning both in the theatre and in the mind of the reader. Because metrical form in the pentameter is not passively present in the text but rather something that the performer must co-operatively re-create in speaking it, pentameter is what John Barton calls “stage-direction in shorthand”, a supple instrument through which Shakespeare communicates valuable cues for performance. This book is thus an essential guide for actors wishing to perform in his plays, as well as a valuable resource for anyone wishing to enhance their understanding of and engagement with Shakespeare’s verse. Has supplementary audio files.