"Flesh, Blood, and Bone: Theatre/Performance Studies as (Em)bodied Practice"
Chair: Robert Craig Baum, University of Minnesota – Twin Cities
Contact: robert_baum@hotmail.com / 802-672-1278 / P.O. Box 28 / Bridgewater,
VT 05034
Central New York Conference on Literature and Language
Convener: Dr. Emmanuel Nelson
SUNY–Cortland
October 26–28, 2003
Deadline: 7/15/03
Description:
“Thought waits to be woken
one day by the memory of what
has been missed, and to be
transformed into teaching.” (Adorno, “Gaps”)
Possibilities: to write the body in/of performance—-to think about the idea
of the event as sonorous existence then and now, yesterday and tomorrow,
whatever/whenever/wherever—-to pretend a thousand yesterdays are still
pulsating, waiting for us, expecting us, wanting us, fearing us, perhaps
knowing (us) better—-to speak to this past, this “peopled” past as a
differend perhaps even more dangerous and relentless than Lyotard could have
ever imagined—-to know that we do not know the language needed to
communicate with the past, that history is never sure (cf. Michel de
Certeau) or the location of that someone/something/somewhere (cf. Jean-Luc
Nancy)—-to assume something (someone, something, somewhere) happened/happens
(cf. the film _Magnolia_)—-to discuss as another historiographic operation
“blood memory” (cf. August Wilson), “blooded thought” (cf. Herbert Blau),
“embodied practice” (cf. Diana Taylor), “plasmatic dimension” (cf. Aimé
Césaire) and other attempts to transform historiography into a “memory of
what has been missed”—-to dream out loud the speech, action, silence of a
hystrionic, histological, histrone-ic sensibility.
“Flesh, Blood and Bone” plenary of CNYCLL 2003, then, seeks abstracts of
approximately 250 words for papers, presentations, and other
textual/textured performances (e.g., theatrical intervention, multimedia
dissent, oral/aural historiography) that express an extraordinarily diverse
set of theatre history, literature, and theory practices, both within the
individual/individuated work accepted for presentation and throughout/across
the collective work to be presented as a panel. Any and all Isms and Ists
are welcome!
Driving questions: how do we begin to discuss the dynamic relationship of
the body, performance, history, and textuality once we have decided (have we
decided, as-yet?) the body, performance, history, and textuality are already
in conversation? What are the differential critical gestures needed to
“flesh out” this relationship? What are the a/effects of this “arrangement”
(cf. Michel Foucault)? What happens to the conceptualization of theatre
history within this particular matrix of expression (cf. Brian Massumi’s
work)? What happens to the notions of “through line” and “rising/falling
action” and “benchmarks” when Theatre History, Literature, and Theory are
discussed as “a perpetual field of interaction” (cf. Gilles Deleuze and
Felix Guattari, _A Thousand Plateaus_)?
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