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En-acting "others": Ethnic, gender,...

Smith, Cherise.

En-acting "others": Ethnic, gender, and racial performance in works by Eleanor Antin, Adrian Piper, and Anna Deavere Smith.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	En-acting "others": Ethnic, gender, and racial performance in works by Eleanor Antin, Adrian Piper, and Anna Deavere Smith.
作者:	Smith, Cherise.
面頁冊數:	268 p.
附註:	Adviser: Wanda Corn.
附註:	Source: Dissertation Abstracts International, Volume: 65-11, Section: A, page: 4025.
Contained By:	Dissertation Abstracts International65-11A.
標題:	Art History.
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3153103
ISBN:	9780496135493

En-acting "others": Ethnic, gender, and racial performance in works by Eleanor Antin, Adrian Piper, and Anna Deavere Smith.
Smith, Cherise.

En-acting "others": Ethnic, gender, and racial performance in works by Eleanor Antin, Adrian Piper, and Anna Deavere Smith. - 268 p.

Adviser: Wanda Corn.

Thesis (Ph.D.)--Stanford University, 2005.

En-Acting "Others" examines how identity is negotiated by closely reading three different performances, one each by Adrian Piper, Eleanor Antin, and Anna Deavere Smith, in which the artist takes-on the characteristics and manners of a racial, ethnic, and gender "other." Chapter one centers on Adrian Piper's Mythic Being performances (1973--1975) in which the artist dressed as a man she termed "third world" and "working class." Chapter two focuses on Eleanor Antin's three-week long performance of the fictional black ballerina Eleanora Antinova in 1980 and her book Being Antinova (1983). In chapter three, I study Anna Deavere Smith's staged-for-video performance of Twilight: Los Angeles, 1992 (2001) in which she enacts twenty-eight characters from different racial, gender, cultural, and professional backgrounds. In addition to interpreting the visual remains of their performances in the public environments of the street and theatre, this dissertation explores how the works functioned for the artists in the private space of their writings.

ISBN: 9780496135493Subjects--Topical Terms:

212490
Art History.

En-acting "others": Ethnic, gender, and racial performance in works by Eleanor Antin, Adrian Piper, and Anna Deavere Smith.
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520 # $a En-Acting "Others" examines how identity is negotiated by closely reading three different performances, one each by Adrian Piper, Eleanor Antin, and Anna Deavere Smith, in which the artist takes-on the characteristics and manners of a racial, ethnic, and gender "other." Chapter one centers on Adrian Piper's Mythic Being performances (1973--1975) in which the artist dressed as a man she termed "third world" and "working class." Chapter two focuses on Eleanor Antin's three-week long performance of the fictional black ballerina Eleanora Antinova in 1980 and her book Being Antinova (1983). In chapter three, I study Anna Deavere Smith's staged-for-video performance of Twilight: Los Angeles, 1992 (2001) in which she enacts twenty-eight characters from different racial, gender, cultural, and professional backgrounds. In addition to interpreting the visual remains of their performances in the public environments of the street and theatre, this dissertation explores how the works functioned for the artists in the private space of their writings.
520 # $a In analyzing Piper's, Antin's, and Smith's performances across racial, ethnic, and gender boundaries, I consider their critical engagement with feminist theories and their desires to blur the line between the private and public spheres. Indeed, the decision of each artist to assume another identity is both a public action against social conventions and a private act of self-fashioning. In their street, theatre, and rhetorical performances, the artists took-up visual signs and acted out stereotypical behaviors and narratives associated with the specific groups they were mimicking, thereby challenging prevailing popular and academic discourses of identity. Piper, Antin, and Smith undermined the representation of racial identity as composed of a set of polar opposites with "real and authentic" at one end and "fictional and constructed" at the other. Rather, the artists located the liminal space between the poles where racial identity is lived and experienced. I explore the ways that the artists reinforced divisions between identities at the same time that they modeled for audiences an alternate mode of being wherein one can be self and "other" simultaneously.
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