[Candrama] FW: CFP Performance Paradigm 14 - Performance, Politics and Non-Participation

Thu Nov 30 08:45:38 EST 2017

Hello CanDRAMA colleagues!

Please check out the following CFP for Performance Paradigm.

Best,
Jenn

Jenn Stephenson
Professor and Chair of Undergraduate Studies
Dan School of Drama and Music
Queen’s University

Editor-in-Chief, Canadian Theatre Review

Phone | 613-533-6000 x78597
Email | jenn.stephenson at queensu.ca<mailto:jenn.stephenson at queensu.ca>
Twitter | @queensjenn
Blog | realtheatre.blog

CFP Performance Paradigm 14, Performance, Politics and Non-Participation

Co-editors: Caroline Wake (UNSW, Sydney) and Emma Willis (University of Auckland)

I would prefer not to. —Bartleby, the Scrivener (1853)

Like Bartleby, the legal clerk who famously decides that he would prefer not to, this issue of Performance Paradigm—an open-access, peer-reviewed journal now in its 14th year—investigates the politics and performance of non-participation. The figure of Bartleby appears everywhere in political theory and philosophy: in Gilles Deleuze’s “Bartleby, ou la formule” (1989); in Giorgio Agamben’s companion piece (1993; published in English 1999); in Michael Hardt and Antonio Negri’s Empire (2000); and in Slavoj Žižek’s The Parallax View (2010). In performance, his spirit manifests in Noor Afshan Mirza and Brad Butler’s project Museum of Non-Participation (from 2007). In performance scholarship, he recently appeared in Daniel Sack’s After Live: Possibility, Potentiality and the Future of Performance (2015). Perhaps we hear him in phrases such as “don’t do it on my account” and catchphrases such as “computer says no”. We might even see him, his slogan printed on a bag or a t-shirt. What are we to make of the fact that more than 160 years after Bartleby first appeared, both pizza ads and productivity coaches proclaim: “No is the new yes” (Huffington Post 2012; Kellaway 2017; Schwartz 2012)? And what is the difference between the “no” and the “non” when it comes to participation? One can choose not to participate (refuse) or one may be excluded from participation, which is altogether different. Is to refuse important in and of itself or should it build towards action; is it, in fact, more a type of action—a striking against—than non-participation?

Participation and performance have been well theorised by Jen Harvie (2013), Josephine Machon (2013), and Adam Alston (2016), among others. This journal issue extends that work by examining participation’s silent siblings: withdrawals, refusals, boycotts, strikes, and even the occasional sulk in the corner. So many participatory performances rely on a mode of compulsory conviviality that eventually becomes coercive. In Helen Iball’s memorable phrase, spectators generally want to “give good audience” so that the artist’s work may “work” (Heddon, Iball and Zerihan 2012: 124). Except when they don’t. Sometimes audiences don’t feel like swallowing the strawberry (Heddon, Iball and Zerihan 124) or tipping the bucket icy water over the performer (Cairns 366). Or, having done so, they feel remorse not only at their actions but at doing the artist’s bidding so easily (Cairns 366). On other occasions, audiences do want to participate but find themselves excluded because an artist has not factored in different regimes of the senses and their associated accessibility needs. On still other occasions, artists and audiences have conscientious objections—to structures, to sponsors, to subject matter—in which case they might boycott the event (Warsza 2017). In these instances, the artist never arrives at the scene of the performance and this becomes, in turn, the artwork.

The irony of inviting you to participate in this issue of Performance Paradigm is not lost on us. Nevertheless, we seek papers on any of the following topics listed below. We also welcome other provocations, suggestions and replies:

•       Non-participation versus refusal and the question of volition

•       Suspension, inaction, non-production, inoperability

•       Withdrawals, boycotts, strikes, and strike-breaking

•       Voting and abstaining

•       Interactivity, unhappy compliance, and cheery refusals

•       Diversity, access, and “differential inclusion” (Mezzadra and Neilson 2013)

•       Uninviting aesthetics (to rewrite White 2013)

•       The operations of consent in theatre and performance (see LaFrance 2013)

•       Permissions, waivers, and disclaimers

•       Curfews, bans, and censorship

•       “I can’t work under these conditions!”

•       Humour as refusal

•       On “slow scholarship” (Mountz et al 2015) and other academic subversions of the participatory imperative

Please send proposals of approximately 300 words to Caroline Wake (c.wake at unsw.edu.au<mailto:c.wake at unsw.edu.au>) and Emma Willis (emma.willis at auckland.ac.nz<mailto:emma.willis at auckland.ac.nz>) by Monday 15 January 2018. Full articles will be due on 31 May 2018 for publication in December 2018.

Works Cited

Agamben, Giorgio, and Gilles Deleuze. Bartleby: La formula della crellzione (Macerata: Quodlibet, 1993).

Alston, Adam. Beyond Immersive Theatre: Aesthetics, Politics and Productive Participation. (Basingstoke: Palgrave Macmillan, 2016)

Cairns, Jon. “Ambivalent Intimacies: Performance and Domestic Photography in the Work of Adrian Howells.: Contemporary Theatre Review 22.3 (2012): 355–71.

Hardt, Michael, and Antonio Negri. Empire (Cambridge MA: Harvard University Press, 2000)

Harvie, Jen. Fair Play: Art, Performance, and Neoliberalism (Basingstoke: Palgrave Macmillan, 2013)

Heddon, Deirdre, Helen Iball, and Rachel Zerihan. ‘Come Closer: Confessions of Intimate Spectators in One to One Performance.’ Contemporary Theatre Review 22.1 (2012): 120–33.

LaFrance, Mary. “The Disappearing Fourth Wall: Law, Ethics, and Experiential Theatre.” Vanderbilt Journal of Entertainment and Technology Law 15.3 (2013): 507–82. http://www.jetlaw.org/wp-content/uploads/2013/03/LaFrance.pdf<https://na01.safelinks.protection.outlook.com/?url=http%3A%2F%2Fwww.jetlaw.org%2Fwp-content%2Fuploads%2F2013%2F03%2FLaFrance.pdf&data=02%7C01%7Cjenn.stephenson%40queensu.ca%7Cba0587b97fe448e4f50e08d537cd174d%7Cd61ecb3b38b142d582c4efb2838b925c%7C1%7C1%7C636476276379640983&sdata=cfNGYuHR2%2F1ispx0WBDD%2FsLkma72k%2BgcHCu3fz%2F65%2Bs%3D&reserved=0>

“‘No is the New Yes’ Domino’s Pizza Ad Offends Some With Apparent Rape Innuendo.” Huffington Post 12 July 2012: http://www.huffingtonpost.com/2012/07/11/dominos-artisan-pizza-ad-rape-_n_1665612.html<https://na01.safelinks.protection.outlook.com/?url=http%3A%2F%2Fwww.huffingtonpost.com%2F2012%2F07%2F11%2Fdominos-artisan-pizza-ad-rape-_n_1665612.html&data=02%7C01%7Cjenn.stephenson%40queensu.ca%7Cba0587b97fe448e4f50e08d537cd174d%7Cd61ecb3b38b142d582c4efb2838b925c%7C1%7C0%7C636476276379640983&sdata=FD6i5aOhiUDp4mw2XurHLS1PffUgLJjhyU2zdwmpwH8%3D&reserved=0>

Kellaway, Lucy. “Why Most Successful People Just Say No.” Financial Times 11 June 2017: https://www.ft.com/content/0a7977ac-4cf5-11e7-919a-1e14ce4af89b?mhq5j=e3<https://na01.safelinks.protection.outlook.com/?url=https%3A%2F%2Fwww.ft.com%2Fcontent%2F0a7977ac-4cf5-11e7-919a-1e14ce4af89b%3Fmhq5j%3De3&data=02%7C01%7Cjenn.stephenson%40queensu.ca%7Cba0587b97fe448e4f50e08d537cd174d%7Cd61ecb3b38b142d582c4efb2838b925c%7C1%7C0%7C636476276379640983&sdata=WrGQtWdmBawQ1UsBYDkT71u2qdrwOKgRgbdE8Di4%2BHU%3D&reserved=0>

Machon, Josephine. Immersive Theatres: Intimacy and Immediacy in Contemporary Performance (Basingstoke: Palgrave, 2013)

Mezzadra, Sandro, and Brett Neilson. Border as Method, or, the Multiplication of Labor (Durham: Duke University Press, 2013)

Mirza, Noor Afshan, and Brad Butler. Museum of Non-Participation http://www.museumofnonparticipation.org/index.php<https://na01.safelinks.protection.outlook.com/?url=http%3A%2F%2Fwww.museumofnonparticipation.org%2Findex.php&data=02%7C01%7Cjenn.stephenson%40queensu.ca%7Cba0587b97fe448e4f50e08d537cd174d%7Cd61ecb3b38b142d582c4efb2838b925c%7C1%7C0%7C636476276379640983&sdata=anotcNSXC3C2wutbIBWUpj8iyFvgTiMsWyAoMAtIltQ%3D&reserved=0>

Mountz, Alison, Anne Bonds, Becky Mansfield, Jenna Llloyd, Jennifer Hyndman, Margaret Walton-Roberts, Ranu Basu, Risa Whitson, Roberta Hawkins, Trina Hamilton, and Winifred Curran. “For Slow Scholarship: Feminist Politics of Resistance through Collective Action in the Neoliberal University.” ACME: An International E-Journal for Critical Geographies 14.4. (2015): 1235–259.

Sack, Daniel. After Live: Possibility, Potentiality and the Future of Performance (Ann Arbor: University of Michigan Press, 2015)

Schwartz, Tony. “‘No’ Is the New ‘Yes’: Four Practices to Reprioritize Your Life.” Harvard Business Review 17 January 2012: https://hbr.org/2012/01/no-is-the-new-yes-four-practic.html<https://na01.safelinks.protection.outlook.com/?url=https%3A%2F%2Fhbr.org%2F2012%2F01%2Fno-is-the-new-yes-four-practic.html&data=02%7C01%7Cjenn.stephenson%40queensu.ca%7Cba0587b97fe448e4f50e08d537cd174d%7Cd61ecb3b38b142d582c4efb2838b925c%7C1%7C0%7C636476276379640983&sdata=7XZEoQp0XQGMhTrQySuGU8c7u7wMtG63geGMp88q1Ag%3D&reserved=0>

Warsza, Joanna, ed. I Can’t Work Like This: A Reader on Recent Boycotts in Contemporary Art (Sternberg Press, 2017)

White, Gareth. Audience Participation in Theatre: Aesthetics of the Invitation (Basingstoke: Palgrave Macmillan, 2013)
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