Books by Rebecca Schneider
Essays Published (selection) by Rebecca Schneider
Island Studies, 2020
This essay explores variant stories surrounding the 1803 'Igbo Landing' on St. Simons Island, Geo... more This essay explores variant stories surrounding the 1803 'Igbo Landing' on St. Simons Island, Georgia, in which a group of enslaved Africans mutinied against their captors and ran aground upon a shoal. Following Tiffany Lethabo King and other scholars of Black feminist thought, the essay explores not only the littoral fact of shoals in seafaring but also the concept of shoaling for troubling historical narratives oriented to settler colonial plot points. Following island studies scholar Jonathan Pugh, the essay asks what thinking with performance and the concept of liminality might offer attempts to account for sand, drift, and, in this case, accounts of Africans who fly. The essay also tells a story of its own regarding the author's attempt to approach the historical site of Igbo Landing by sea. An example of performative writing, the essay does not so much launch and unpack a singular argument as it explores the littoral zones among and between ideas, stories, arguments, facts, and fabulations in relation.
The Methuen Drama Companion to Performance Art, 2020
The following conversation aims to trace the role of gesture and gestural thinking in Rebecca Sch... more The following conversation aims to trace the role of gesture and gestural thinking in Rebecca Schneider's work, and to tease out the specific gestural ethics which arises in her writings. In particular, Schneider thinks about the politics of citation and reiteration for an ethics of call and response that emerges in the gesture of the hail. Both predicated upon a fundamentally ethical relationality and susceptible to ideological investment, the hail epitomizes the operations of the " both/and " —a logic of conjunction that structures and punctuates the history of thinking on gesture from the classic Brechtian tactic in which performance both replays and counters conditions of subjugation to Alexander Weheliye's reclamation of this tactic for black and critical ethnic studies. The gesture of the hail will lead us, then, to the gesture of protest in the Black Lives Matter movement. The hands that are held up in the air both replay (and respond to) the standard pose of surrender in the face of police authority and call for a future that might be different. Schneider's ethics of response-ability thus rethinks relationality as something that always already anticipates and perpetually reinaugurates possibilities for response. Lucia Ruprecht: Rebecca, my first question addresses how gestures in your work travel through time, and how these travels are inflected by a spectrum of political agendas. In The Explicit Body in Performance (1997) you write about a 1990 piece by the Native American group Spiderwoman Theater called Reverb-ber-ber-rations. Thinking through this performance's subversive mimicry of
Anthologies and Special Issues of Journals by Rebecca Schneider
Talks by Rebecca Schneider
A paper delivered at Duke University, April 20, 2017 for the conference "The Future of Reenactmen... more A paper delivered at Duke University, April 20, 2017 for the conference "The Future of Reenactment."
Papers by Rebecca Schneider
Performance Philosophy, 2017
The following conversation aims to trace the role of gesture and gestural thinking in Rebecca Sch... more The following conversation aims to trace the role of gesture and gestural thinking in Rebecca Schneider�s work, and to tease out the specific gestural ethics which arises in her writings. In particular, Schneider thinks about the politics of citation and reiteration for an ethics of call and response that emerges in the gesture of the hail. Both predicated upon a fundamentally ethical relationality and susceptible to ideological investment, the hail epitomises the operations of the �both/and��a logic of conjunction that structures and punctuates the history of thinking on gesture from the classic Brechtian tactic in which performance both replays and counters conditions of subjugation to Alexander Weheliye�s reclamation of this tactic for black and critical ethnic studies. The gesture of the hail will lead us, then, to the gesture of protest in the Black Lives Matter movement. The hands that are held up in the air both replay (and respond to) the standard pose of surrender in the fa...
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Books by Rebecca Schneider
Essays Published (selection) by Rebecca Schneider
Anthologies and Special Issues of Journals by Rebecca Schneider
Talks by Rebecca Schneider
Papers by Rebecca Schneider
--------This event aims at advancing the knowledge on this topic within the discipline of conservation on the one hand, while, on the other, locating the discourse of conservation within a broader field of the humanities disciplines concerned with the theories and practices of performance— performance studies, anthropology, art history, curatorial studies, heritage studies and museology.
---------We propose to contest the common-sense understanding of performance as a non-conservable form and ask questions concerning how, and to what extent, performance art and performance-based works can be conserved.
---------Keynotes: Prof Rebecca Schneider (Brown University), Prof Pip Laurenson (Tate/Maastricht University), Prof Gabriella Giannachi (University of Exter), Prof Barbara Büscher (University of Music and Theatre Leipzig).
--------Speakers: Hélia Marçal, Kate Lewis, Lizzie Gorfaine, Ana Janevski, Martha Joseph, Erin Brannigan, Brian Castriota, Farris Wahbeh, Louise Lawson, Rachel Mader, Siri Peyer, Sooyoung Leam, Karolina Wilczyńska, Iona Goldie-Scot, Claire Walsh and Ana Ribeiro.
-------The colloquium will feature two performance interludes by artists Frieder Butzmann (May 29) and Gisela Hochuli (May 30). We invite you to contribute to Gisela Hochuli’s performance by May 22 (please see the PDF for instructions).
------This colloquium is a part of the ongoing research project Performance: Conservation, Materiality, Knowledge funded by the Swiss National Science Foundation at Bern University of the Arts. The project focuses on the questions of conservation of performance-based works, their temporal specifics, the involvement of the human and non-human body, the world of their extended trace history, memory, and archive. Explored are notions of care, the ideals of traditional conservation and their relations to tacit or explicit knowledge, skill and technique. Taking as a starting point the necessity for conservators to access and deepen this area of study, and unlike queries that situate these questions within other disciples, in this project, we approach performance as a necessarily conservable form.