Download Actors and Activists: Performance, Politics, and Exchange by David A. Schlossman PDF

By David A. Schlossman

This scholarly paintings seems to be on the factor of politics and function in the US at the present time with specific consciousness paid to performances produced via activists, the NEA 4, and "Miss Saigon".

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Additional info for Actors and Activists: Performance, Politics, and Exchange Among Social Worlds

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In the view of scholars working in cultural studies, culture is neither an abstracted and aesthetic object for contemplation nor an external machine determining human actions; rather, culture is the medium in which political issues are negotiated. I refer to examples of culture serving as an (or the) arena of political struggle as "cultural contest" (a concept discussed frequently among theorists; see Fuoss). ~' Politics and Representation Symbolic interactionists and critical theorists view the creation and reception of art as linked to and involved in political life.

City of West Palm Beach. "' The court ruled in favor of the musical's producers, viewing the city official's standards as arbitrary and an unconstitutional violation of the First Amendment. In the body of the ruling, Circuit Judge Goldberg stated that "It is settled law that theatrical productions can be staged under the protective cupola of the First Amendment," and offered Schacht v. ' So, an activist, a participant in a clearly political social world, succeeded in defending his blurring of the conventions of political and performance worlds.

Perennial questions regarding performance and politics have inspired vibrant answers from scholars supporting their connection, and these answers have broadened our understanding. Also, questions of efficacy, relevance, endurance that tend towards the abstract (or even absurd) when asked of overtly political performance as a whole remain relevant when applied to specific works. One cannot therefore dismiss out of hand all perennial questions of politics and performance. Yet, the predictable, almost hackneyed entrance of these stock questions into almost every discussion of politics and performance begs different questions: Can one not say that the charges have been answered, and, if one does, what new issues arise?

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