Unless noted otherwise, all works in this issue are licensed under a
Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License..
Grain: A Video Essay [video & digital responses]
David P. Terry
Performative Inferentialism: A Semiotic Ethics [pdf]
Transfer Media: Ethics, Semiotics, Documentary [pdf]
Garnet C. Butchart
The Emperor's New Expressionism: Wilhelm II and the Modern Crisis [pdf]
Unheeded Post-Traumatic Unpredictability: Philip G. Zimbardo's Stanford
Prison Experiment as Absurdist Performance [pdf]
Gazing at Exhibit A: Interview with Brett Bailey [pdf & video]
Occupy the Heart: A Performance Review [pdf]
Karen L. Gygli
Techniques of Pleasure: BDSM and the Circuits of Sexuality (by Margot Weiss) [html]
reviewed by Dana Sayre
<notes on contributors>
» Christian Anderson (PhD in German, University of California, Davis) analyses Germanic cultural production, creating phenomenological data-sculptures from works of philosophy, literature, film, architecture, and other media. He currently holds the position of Lecturer in German at California Polytechnic State University, San Luis Obispo (Cal Poly), where he teaches courses in German language and cultural studies. His current project is Alternatives to Adulthood: Toward the Origin and Essence of the German Bildungsroman.
» Brett Bailey is a South African playwright, designer, director, installation maker and the artistic director of Third World Bunfight. He has worked throughout South Africa, in Zimbabwe, Uganda, Haiti, the UK and Europe. His acclaimed iconoclastic dramas (e.g., Big Dada, Ipi Zombi?, iMumbo Jumbo and Orfeus) and performance installations (e.g., Blood Diamonds: Terminal and Exhibit A & B) interrogate the dynamics of the post-colonial world. His works have played across Europe, Australia and Africa, and have won several awards, including a gold medal for design at the Prague Quadrennial (2007). He directed the opening show at the World Summit on Arts and Culture in Johannesburg (2009), and from 2006-2009 the opening shows at the Harare International Festival of the Arts. From 2008-2011 he was curator of South Africa’s only public arts festival, ‘Infecting the City’, in Cape Town.
» Garnet C. Butchart is Assistant Professor in the Department of Communication at the University of South Florida, Tampa, USA. His research in semiotics, phenomenology, and psychoanalytic theory of communication has appeared in Semiotica; Communication, Culture & Critique; Communication Theory; Review of Communication, and elsewhere. He has lectured on documentary cinema and ethics at the Jerusalem Center for Ethics and has served on the jury of the Israeli Documentary Cinema Awards at the Jerusalem International Film Festival.
» Karen L. Gygli is an associate professor of theatre in the Tim Russert Department of Communication and Theatre Arts at John Carroll University. She teaches theatre and film history, and has been a director, both at John Carroll and as part of Red Hen Productions, a feminist theatre.
» Anton Krueger teaches performance studies and creative writing at Rhodes University. His research interests include questions around identity in contemporary South Africa and he has published numerous reviews, articles and book chapters on post-apartheid theatre. He is the author of Experiments in Freedom: Issues of Identity in New South African Drama (2010). Anton has also published creative writing in a range of genres, including Sunnyside Sal (novella, 2010), Shaggy (comedy monologues, written with Pravasan Pillay, 2011), and Everyday Anomalies (poetry, 2011).His plays have been performed in eight countries and have been nominated for numerous awards nationally and abroad. Five of his plays have been published by Playscripts (New York) and Stagescripts (London). Anton was a runner up for the Dalro Poetry prize for 2010, and Experiments in Freedom won the Rhodes Vice Chancellor’s Book award in the same year.
» David LaRocca lives in New York where he is Writer in Residence in the F. L. Allen Room at The New York Public Library and Fellow at The Moving Picture Institute. He is the author of On Emerson (Wadsworth) and Emerson’s English Traits and the Natural History of Metaphor (forthcoming from Bloomsbury), and the editor of Stanley Cavell’s Emerson’s Transcendental Etudes (Stanford) and Estimating Emerson: An Anthology of Criticism from Carlyle to Cavell (Bloomsbury).
» Fred Ribkoff (Ph.D., Simon Fraser University) teaches at Kwantlen Polytechnic University in British Columbia. Recent publications include “Resonating Atrocities: Tennessee Williams’ Not About Nightingales, Suddenly Last Summer, and the Holocaust” (Journal of American Drama and Theatre) and “On the Dialectics of Trauma in Tennessee Williams’ A Streetcar Named Desire” (Journal of Medical Humanities). His essay, “Shame, Guilt, Empathy, and the Search for Identity in Arthur Miller’s Death of a Salesman” (originally published in Modern Drama) has been reprinted in several anthologies.
» Dana Sayre (M.A., Performance Studies, Texas A&M University) studies queer utopian performance and counterpublics. She is currently working in the public sector while continuing research on gender, sexuality, and ethnography.
» David P. Terry is Assistant Professor of Performance Studies in the Department of Communication at San José State University. Correspondence to David.Terry@sjsu.edu
Liminalities: A Journal of Performance Studies (issn: 1557-2935)
editor-in-chief: Michael LeVan (University of South Florida)
the city editor: Daniel Makagon (DePaul University)
digital horizons editors: Craig Gingrich-Philbrook (Southern Illinois University) and Daniel (Jake) Simmons
(Angelo State University)
performance & pedagogy editor: Keith Nainby (California State University Stanislaus)
banner photo/design ("phabricated") by Michael LeVan