Performing Endurance

Art and Politics since 1960

Lara Shalson (King's College London)

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Hardback

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English

Cambridge University Press
18 October 2018

Theory of art; Performance art; Theatre Studies; Gender studies, gender groups; Political ideologies

In Performing Endurance, Lara Shalson offers a new way of understanding acts of endurance in art and political contexts. Examining a range of performances from the 1960s to the present, including influential performance art works by Marina Abramović, Chris Burden, Tehching Hsieh, Linda Montano, Yoko Ono, and others, as well as protest actions from the lunch counter sit-ins of the US civil rights movement to protest camps in the twenty-first century, this book provides a formal account of endurance and illuminates its ethical and political significance. Endurance, Shalson argues, raises vital questions about what it means to exist as a body that both acts and is acted upon, from ethical questions about how we respond to the bodies of others to political questions about how we live in relation to institutions that shape life in fundamental ways. In addition, Performing Endurance rethinks how performance itself endures over time.

By: Lara Shalson (King's College London)
Imprint: Cambridge University Press
Country of Publication: United Kingdom
Dimensions: Height: 235mm, Width: 159mm, Spine: 16mm
Weight: 450g
ISBN: 9781108426459
ISBN 10: 110842645X
Pages: 216
Publication Date: 18 October 2018
Audience: Professional and scholarly , Undergraduate
Format: Hardback
Publisher's Status: Active

List of figures; Acknowledgements; Introduction; 1. Enduring objecthood; 2. Enduring protests; 3. Enduring life; 4. Enduring documents; Epilogue; Notes; Bibliography; Index.

Lara Shalson is Lecturer in Theatre and Performance Studies at King's College London. She is the author of Theatre & Protest (2017).

Reviews for Performing Endurance: Art and Politics since 1960

Advance praise: 'Lara Shalson's Performing Endurance is an original, bold, and impeccably lucid encounter with endurance art. Shalson's writing carries a deep and abiding sympathy for what it means to endure, to survive the situation in which one finds oneself: say, in art, in life, in conflict, or in love. This book will make an urgent and compelling contribution to theatre and performance studies now, and to broader political considerations of how and with what means one may endure, together and apart, in difficult or uncertain times.' Dominic Johnson, Queen Mary, University of London