Text[ure]

In their 'Performance Paper Text[ure]' Korsten & De Jong build a wall-veil out of the audio of the 'Participatory Performance Text[ure]' and theoretical material (the 'text') from the 'Proposal Text[ure].' The wall-veil refers to Ruskin's famous example of the Matterhorn, which he uses to explain the wall-veil as symbolic of the relationship between massing and texture through interdependence. Korsten & De Jong's wall-veil is a mutable subject-object-complex with quotes from different theoretic fields, different eras and different theorists, in which positions shift continuously. Time is seen as a form of simultaneity in which layers fuse to form meaning. Korsten & De Jong regard this process of simultaneity as a middle position and seek it as an opportunity to question existing paradigms artistically.

La Reprise: Histoire(s) du théâtre (I)

Through the story of Ihsane Jarfi’s murder, Milo Rau suggests there are shades of gray between the actual event and the staged event, and between murder and performing murder. This performance text was developed by Rau and his Ensemble of professional and amateur actors.

TYPES AND FORMS OF ENERGY IN THE PERFORMANCE TEXT OF A MUSICAL WORK

In this article, for the first time in musicology, a classification of the types and forms of energy that exist in music is given. The latter are not indicated in the musical text, but are hidden in the energetic composition of the musical work and reveal themselves in the text of the musician-performer who re-creates the musical work, recreating the primary fire that gave it birth.

Margins of Error: Performance, Text, and the Editing of Early Modern Sermons

This article explores the editing of early-modern sermons, with a particular focus on the challenge of recovering the sermon in performance. Taking as its starting point the fact that most sermons were not written out until after their delivery in the pulpit, it considers the ways in which sermons resist conventional editorial methods based on the identification of ‘error’ and the reconstruction of a holograph text. It argues for a new approach to editing and a new perspective on error which uses these moments of textual complexity in order to shed light on a sermons evolution from sermon notes and pulpit delivery to written text.

Reading LXXJudith 13:1–9 as performance

The Septuagint Book of Judith and its derivatives have had an enormous influence on the history of Western Europe and the Christian church. Judith has been employed in various situations to incite violence against a perceived opposition. In this regard, this article focuses on the climax of this book (Jdt 13:1–9) as performance text. In this context, many of the insights proffered by Perry in his seminal work Insights from Performance Criticism (2016) have been expanded upon from the perspective of a Greek and/or Hellenistic environment.Contribution: The value of reading LXXJudith as performance is clearly demonstrated. The conclusion is reached that this pericope is indeed highly subversive. Suggestion is also made that, contrary to more conservative wisdom, with reference specifically to LXXJudith 13:1–9, the Judith fabula is not really reconciliatory in nature. Rather, it seems to provoke conflict between competing powers.

The Ultimate Home

This chapter analyzes, as a performance text, Michelle Obama’s public persona as first lady. Proclaiming herself Mom-in-Chief, Mrs. Obama embodied a variation of the strong black woman, and her strategies for inspiring others resembled those of black club women of the 1890s and early 1900s. Club women taught other women best practices for caring for their families and homes. They also gave advice about, and considered themselves models for, how best to style one’s hair and dress appropriately. Likewise, Mrs. Obama made deliberate choices about hair, clothes, and overall bodily presentation, and she decorated the White House in ways that continued Jacqueline Kennedy’s legacy but that also acknowledged the hostility hounding her first family because it was not white. [119 of 125 words]