Este curso explora as diversas maneiras em que os artistas e ativistas utilizam a arte (performance, pinturas murais, grafite, escrita, música) para fazer uma intervenção social nas Américas. Iniciamos o curso examinando várias teorias sobre a arte e o ativismo (Brecht, Boal, Buenaventura, Ngugi wa Thiong’o e Foucault, dentre outros) e, em seguida, enfocamos temas ligados ao agenciamento, espaço, evento e audiência em relação a grandes movimentos políticos (revolução, ditadura, democracia, globalização e direitos humanos) na visão da obra de proeminentes especialistas.
This course explores the interconnections between trauma, memory, and performance in the Americas by looking at the dark sites and traces left by criminal politics. Instead of starting with the events themselves—the detentions, torture, and disappearances—we look at the spaces in which they have taken place and the paradigms for thinking about criminal politics and remembrance.
This course explores the many ways in which theorists and theatre practitioners have thought about the ways in which staged action (whether in film, theatre, or politics) pacifies, activates, interpolates, and manipulates viewers. We will explore concepts such as identification, voyeurism, narcissism, bearing witness, percepticide, spect-actor, and others.
This course will consider a number of topics related to embodiment and performance. Has the rise of digital technologies changed the ways in which we think of the body and presence? Has embodiment come to complicate or disrupt paradigms of race, class, gender and sexuality? Focusing on embodiment in virtual and actual spaces, we will explore such issues as simulation, affect, trauma, memory, re-performance, activism, and resistance.
This course explores the interconnections between trauma, memory, and performance in Latin America. Starting in the 1960s, we focus on events throughout the Americas—Mexico 1968, Argentina’s ‘Dirty War,’ Chile under Pinochet, Guatemala, Nicaragua, Peru, and other sites in which criminal politics have disappeared citizens and traumatized populations. Does each context have its own unique structure and idiom, or can we think about individual and collective trauma through a translocal, cosmopolitan lens? Topics include: the performance of state power and state sponsored terror; the individual and collective nature of trauma; the study of embodied practices such as testimony and witnessing; the construction of archives of testimony; testimony, its use in literature, museums, and pedagogy, its dramatizations by others, its archivization; the social role of sites of memory (ESMA, Villa Grimaldi etc.); performances of protest and resistance.
The purpose of this class is to explore a number of topics in Performance and Revolution. It won't be exhaustive by any means, but we'll touch on a number of questions via articles, theoretical and historical texts, and lectures, with the goal of understanding revolution and the role of performance within it, with a special focus on what's going on right now in New York City.