Maciunas's ManifestoDraft Outline:
Before, Beneath, and Beyond Participation

Section I [Introduction]
Section II [Before Participation]
Section III [The Before in The After]
Section IV [Beneath the Artspeak]
And A List of Related Books.

Averns, Dick. “Canada’s Art and Design Schools: A Critical Survey.” Artichoke 16.3 (2004): n page.

Baldaccino, John. “What lies beyond the Bauhaus?: The political ‘logics’ of college art pedagogy.” Australian Art Education 32.1 (2009): 45-57.

Barthes, Roland. “From Work to Text.” Textual-Strategies: Perspectives in Post-Structuralist Criticism. Josué V. Harari, Ed. Ithaca, Cornell University Press, 1979: 73-81.

Baum, Rob. “The Mark, the Gestus, and the Moment of Witnessing.” Theatre Research International 35.1 (2010): 43–53

Blau, Herbert. “Ideology and Performance.” Theatre Journal 35.4 (December 1983): 441-460.

Bishop, Claire. “The Social Turn: Collaboration and its Discontents.” ArtForum [Online] (February 2006).

Bottoms, Stephen J. “The Tangled Flora and Fauna of Goat Island: Rhizome, Repetition, Reality.” Theatre Journal, Vol. 50, No. 4, 1998: 421-446.

Carlson, Marvin. “The Resistance to Theatricality.” Special Issue 98/99: Theatricality, SubStance 31.2/3 (2002): 238-250.

Castagno, Paul C. “Informing the New Dramaturgy: Critical Theory to Creative Process.” Theatre Topics 3.1 (1993): 1-6.

Christian, Barbra. “The Race for Theory.” Feminist Studies 14 (Spring 1988): 67-79.

Connolly, Roy and Richard Ralley. “Brecht and the disembodied actor.” Studies in Theatre and Performance 28.2 (2008): 91-110.

Daddario, Will. “From Pseudo-Activity to Critique Adorno, philosophy, participation.” Performance Research: A Journal of the Performing Arts 16:4 (2011): 124-135.

Derrida, Jacques. “The Law of Genre.” Glyph 7 (Spring 1980): 202-232.

Feltham, Oliver. “An Explosive Genealogy: Theatre, Philosophy and the Art of Presentation.” Cosmos and History: The Journal of Natural and Social Philosophy 2.1-2 (2006): 226-240.

Féral, Josette. “Brecht Inverted: Alienation Effect and Multimedia.” Theatre Journal 39.4 (Dec 1987): 461.
____________“Performance and theatricality: the subject demystified,” in Mimesis, masochism, and mime; the politics of theatricality in contemporary French thought, Timothy Murphy Ed. (Ann Arbor: Michigan UP, 1997): 289-300.
____________ and Ronald P. Bermingham. “The Specificity of Theatrical Language.” SubStance 31.2/3 Special Issue 98/99: Theatricality (2002): 94-108.

Fortier, Mark. “Cultural Studies and Theatre: From Stanislavski to the Vigil.” College Literature 19.2 (June 1992): 91-97.

Forum,Jennifer. “Will the real outsiders please stand up?” The New Art Examiner (Summer 1993): 18-21.

Foucault, Michel. “Of Other Spaces.” Diacritics 16.1 (Spring 1986): 24-27.

Fuchs, Elinor. “Presence and the Revenge of Writing: Re-thinking Theatre After Derrida.” Performing Arts Journal 26/27 (1985): 163-173.

Gabriella Calchi-Novati. “Paradigms of Participation Wim Delvoye and Wafaa Bilal’s Tattooing Performances.” Performance Research: A Journal of the Performing Arts 16:4 (2011) 34-45.

Henahan, Donal. “The Riddle of John Cage.” The New York Times (23 August 1981): D-17.

Higgins, Dick. “Intermedia.” Something Else Newsletter 1.1 (1966).

Johnston, Daniel. “Manual Metaphysics: Philosophy and Theatre.” Philament: An Online Journal of the Arts and Culture 4 (2004).

Kaprow, Allan. “The Education of the Un-Artist, Part I.” Art News 69.10 (February 1971): 28-31.
____________ “The Education of the Un-Artist, Part II.” Art News 71.3 (May 1972): 34-39.
____________ “The Education of the Un-Artist, Part III.” Art in America 62.1 (January-February 1974): 85-89.

Koutsourakis, Angelos. “From Post-Brechtian Performance to Post-Brechtian Cinema : Shirley Clarckes Adaptation of The Living Theatre’s Production of The Connection.” International Journal of Performance and Digital Media 7.2 (2011): 141-154.

Kouratoras, Michail. “Digital dramaturgy of cruelty: Antoine Artaud: Ludology and the plague metaphor in contemporary video games and new media.” Journal of Gaming and Virtual Worlds 3.2 (July 2011): 107–123.

Kristeva, Julia. “Women’s Time.” Signs 7.1 (1981): 13-35.

Kowsar, Mohammad. “Deleuze on Theatre: A Case Study of Carmelo Bene’s Richard III.” Theatre Journal 38.1 (March 1986): 19-33.

Kwok Wai Wong and Thomas Fischer. “The Ethics of Perception.” Convergence: The Journal of Research into New Media Technologies 6.1 (Spring 2000): 29-38.
____________ “Field Notes on Ethics.” Besides: A Journal of Art History and Criticism 2 (1999): 287-97.
____________ “Demo Aesthetics.” Co-authored with Heidi Gilpin. Convergence: The Journal of Research into New Media Technologies 1.2 (Autumn 1995): 127-139.
____________ “Some Conversational History Play.” Co-authored with Allan Kaprow, Jeff Kelley, Robert C. Morgan, Richard Schechner & Barbara Smith. High Performance 43 (Fall 1988): 28-33.

Kyle, Gann. “Philosopher No More.” The Village Voice (August 1992): 77.

Lavery, Carl and David Williams. “Practising Participation: A conversation with Lone Twin.” Performance Research: A Journal of the Performing Arts 16:4 (2011): 7-14.

Lushetich, Natasha. “Hovering between Being and Non-Being: Nishidian interexpression and the Fluxkit.” Performance Research: A Journal of the Performing Arts 16.4 Special Issue On Participation (2011): 73-79.

Lyons, Charles R. and James Lyons. “Anna Deavere Smith: Perspectives on her Performance within the Context of Critical Theory.” Journal of Dramatic Theory and Criticism 9.1 (Fall 1994): 43-66.

McNulty, Charles. “The Queer as Drama Critic.” Theater 24.2 (1993): 12-20.
____________ “Queer Misgivings.” Theater 33.3 (2003): 112-117.

Midgelow, Vida. “Sensualities: experiencing/dancing/writing.” New Writing: The Journal for the Practice and Theory of Creative Writing, Routledge (2011): 3-17.

Moss, Jane. “Still Crazy After All These Years: The Uses of Madness in Recent Quebec Drama.” Canadian Literature #118 (Autumn 1988): 35-45.

Mufson, Daniel. “The Critical Eye: Interpret This.” Theater Magazine 24.3 (1993): 116-119.

O’Dell, Kathy. “Fluxus Feminus.” The Drama Review 41.1 (1997): 43–60.

Oren, Michel. “Anti-Art as the End of Cultural History.” Performing Arts Journal 15.2 (1993): 1–30.

Pavis, Patrice. “The Interplay Between Avant-Garde Theatre and Semiology.” Performing Arts Journal 15. (1981): 75-85.

Rabkin, Gerald. “The Play of Misreading: Text/Theatre/Deconstruction.” Performing Arts Journal 19. (1983): 142-159.
____________ “Is There a Text On This Stage: Theatre/Authorship/ Interpretation.” Performing Arts Journal 26/27 (1985): 142-159.

Reynolds, James. “Patrick Caux and Bernard Gilbert. Trans. Neil Kroetsch. Ex Machina: Creating for the Stage.” Theatre Research in Canada / Recherches théâtrales au Canada [Online], 32.2 (2011): n. pag. Web. 25 Apr. 2013

Rodenbeck, Judith. “Madness and Method: Before Theatricality.” Grey Room 13 MIT Press (Fall 2003): 54-79.
____________ “Christoph Schlingensief and the Bad Specticle.” Performance Research 16.4 (2011): 27-33.

Rush, Michael. “Video Art,” in New Media in Late 20th Century Art. World of Art Series. New York: Thames and Hudson (1999): 78-113.

Saal, Ilka. “Making It Real? Theatre in Times of Virtual Warfare.” The Journal of American Drama and Theatre 20.2 (Spring 2008): 65-89.

Senyshyn, Dimitry. “Memorial Reconstructions: Presence and (Re)-presentation in Carbone 14’s Le Dortoir.” Theatre Research in Canada / Recherches théâtrales au Canada [Online], 32.2 (2011): n. pag. Web. 25 Apr. 2013

Saltz, David. “Why Performance Theory Needs Philosophy.” Journal of Dramatic Theory and Criticism 16.1 (2001): 149-154.

Smith, Gary. “The Phenomenological Attitude.” in Critical Theory and Performance, Janelle G. Reinelt and Joseph R. Roach Eds, Ann Arbor, University of Michigan Press (1992): 369-379.
____________ “Improper Conjunctions: Metaphor, Performance, and Text.” Essays in Theatre 14.1 (November 1995): 3-14.

Tassi, Aldo. “Philosophy and Theatre: An Essay on Catharsis and Contemplation.” International Philosophical Quarterly 35.4 (1995).

Torner, Evan M. “The Cinematic Defeat of Brecht by Artaud in Peter Brook’s Marat/Sade.” EDGE – A Graduate Journal for German and Scandinavian Studies 1. 1. 1 (2009).

Webb, Richard C. “Toward a Popular Theatre: Le Grand Magic Circus.” The Journal of Popular Culture 9.4 (Spring 1976): 840-850.

Zarrilli, Phillip B. “Psychophysical Approaches and Practices in India: Embodying Processes and States of ‘Being–Doing’” New Theatre Quarterly 27.3 (August 2011): 244 ­ 271.
____________ “Toward a Phenomenological Model of the Actor’s Embodied Modes of Experience.” Theatre Journal 56.4 (December 2004): 653-666.

Zazzali, Peter. “An Artaudian and Brechtian Analysis of The Living Theatre’s The Brig: A Study of Contradictory Theories in Practice.” Language and the Scientific Imagination : Proceedings of the 11th Conference of the International Society for the Study of European Ideas (ISSEI), 28 July – 2 August 2008 at the Language Centre, University of Helsinki, Finland. 2010.


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