By Jon McKenzie, Heike Roms, C. J. W.-L. Wee (eds.)

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Pure personas, unencumbered by our persons, have full play. ‘On the Internet,’ as one New Yorker cartoon reminds us, ‘nobody knows you’re a dog’ (Steiner, 1993). These questions are not only the matter of theoretical discussion among scholars. Artists want to know how their performances will change when they are available online through streaming video. The first life of performance, the one they invest in, makes a clear artistic and/or political intervention. It finds its audience and creates a community of spectators/participants in the here and now.

H. Sun, D. Taylor, and G. Gómez-Peña. ‘Is Performance Studies Imperialist? Part 3: A Forum,’ The Drama Review (TDR), 51:4 (2007) 7–23. 22 Contesting Performance Reinelt, J. ‘Is Performance Studies Imperialist? Part 2,’ The Drama Review (TDR), 51:3 (2007) 7–16. Sakai, N. ‘ “You Asians”: On the Historical Role of the West and Asia Binary,’ Japan After Japan: Social and Cultural Life from the Recessionary 1990s to the Present, ed. T. Yoda and H. Harootunian (Durham, NC: Duke University Press, 2006), pp.

McKenzie, J. Perform or Else: From Discipline to Performance (London and New York: Routledge, 2001). Reguillo, R. : Instituto Tecnológico y de Estudios Superiores de Occidente, 2005). , Bill Talen). ‘Performance and Politics in the Americas,’ Guest lecture convened by Diana Taylor, Faculty Resource Network, New York University, 14 June 2006. Spitzer, L. Hotel Bolivia: The Culture of Memory in a Refuge from Nazism (New York: Hill & Wang, 1998). Steiner, P. ‘On the Internet, Nobody Knows You’re a Dog,’ The New Yorker, 69:20 (5 July 1993) 61.

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Contesting Performance: Global Sites of Research by Jon McKenzie, Heike Roms, C. J. W.-L. Wee (eds.)
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