THE UNIVERSITY OF WARWICK
Summer examinations 2011/12
INTRODUCTION TO PEFORMANCE STUDIES
Time allowed: 2 hours
Please answer TWO questions, ONE from Section A and ONE from Section B. Do not repeat substantially material in different answers, or draw significantly in your answers on material already covered in assessed work.
Read carefully the instructions on the answer book and make sure that the particulars required are entered on each answer book.
EACH ANSWER SHOULD COMMENCE IN A SEPARATE ANSWER BOOK.
1. How may performance be said to be instrumental in constructing the identity of a city (or cities)? You should focus EITHER on instances of performance as urban intervention, OR on the city itself as an entity that performs through its everyday practices.
2. In what way does ‘being-in-the-same-roomness’ prove to be a significant feature of the live art experience? Refer to at least twoexamples of live art practice in your answer.
3. Discuss the ‘double nature of drama’ by comparing and contrasting dramaturgical strategies in twostylistically different plays that can be either the Chekhov and Beckett texts from the class or else other examples.
4. Discuss the relationship between public space and agency in the exilic performances of Krzysztof Wodiczko.
5. ‘As cultural politics, racism makes certain claims about CULTURE, HISTORY and INTELLECT – about who has them and who does not; it makes certain claims about THE BODY – about beauty, ugliness, sexuality; and it makes assertions about CHARACTER – about what different categories of people are like’. (Jordan and Weedon). Examine the significance of this quote for oneperformance event and its wider historical and cultural context.
6. Write a performance analysis of a work (other than Void Story) that you have seen since commencing the course, commenting on points of contact between the performance and ideas and practices considered during this module.
7. Consider how Alan Kaprow’s piece, 18 Happenings in 6 Parts, exemplifies what Michael Kirby described as ‘non-matrixed theatre’, paying attention to the strengths and limitations of using the conceptual lens that Kirby’s model provides for understanding this performance event.