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This book examines performance in the context of the 2003 Iraq War and subsequent conflicts with Daesh, or the so-called Islamic State. Working within a theater and performance studies lens, it analyzes adaptations of Greek tragedy, documentary theater, political performances by the Bush administration, protest performances, satiric news television programs, and post-apocalyptic narratives in popular culture. By considering performance across genre and media, War as Performance offers an interdisciplinary approach to the study of culture, warfare, and militarization, and argues that spectacular and banal aesthetics of contemporary war positions performance as a practice struggling to distance itself from appropriation by the military for violent ends. Contemporary warfare has infiltrated our narratives to such an extent that it holds performance hostage. As lines between the military and performance weaken, this book analyzes how performance responds to and potentially shapes war and conflict in the new century.
'Performance in Place of War' is concerned with theatre in refugee camps, in war-affected villages, in towns under curfew, in cities under occupation. It presents theatre and performance that occurs literally at the moment bombs are falling, as well as during times of ceasefire and in the aftermaths of war.
How do armies fight and what makes them victorious on the modern battlefield? In Divided Armies, Jason Lyall challenges long-standing answers to this classic question by linking the fate of armies to their levels of inequality. Introducing the concept of military inequality, Lyall demonstrates how a state's prewar choices about the citizenship status of ethnic groups within its population determine subsequent battlefield performance. Treating certain ethnic groups as second-class citizens, either by subjecting them to state-sanctioned discrimination or, worse, violence, undermines interethnic trust, fuels grievances, and leads victimized soldiers to subvert military authorities once war begins. The higher an army's inequality, Lyall finds, the greater its rates of desertion, side-switching, casualties, and use of coercion to force soldiers to fight. In a sweeping historical investigation, Lyall draws on Project Mars, a new dataset of 250 conventional wars fought since 1800, to test this argument. Project Mars breaks with prior efforts by including overlooked non-Western wars while cataloguing new patterns of inequality and wartime conduct across hundreds of belligerents. Combining historical comparisons and statistical analysis, Lyall also marshals evidence from nine wars, ranging from the Eastern Fronts of World Wars I and II to less familiar wars in Africa and Central Asia, to illustrate inequality's effects. Sounding the alarm on the dangers of inequality for battlefield performance, Divided Armies offers important lessons about warfare over the past two centuries—and for wars still to come.
'At last, the past has arrived! Performing Remains is Rebecca Schneider's authoritative statement on a major topic of interest to the field of theatre and performance studies. It extends and consolidates her pioneering contributions to the field through its interdisciplinary method, vivid writing, and stimulating polemic. Performing Remains has been eagerly awaited, and will be appreciated now and in the future for its rigorous investigations into the aesthetic and political potential of reenactments.' - Tavia Nyong'o, Tisch School of the Arts, New York University 'I have often wondered where the big, important, paradigm-changing book about re-enactment is: Schneider’s book seems to me to be that book. Her work is challenging, thoughtful and innovative and will set the agenda for study in a number of areas for the next decade.' - Jerome de Groot, University of Manchester Performing Remains is a dazzling new study exploring the role of the fake, the false and the faux in contemporary performance. Rebecca Schneider argues passionately that performance can be engaged as what remains, rather than what disappears. Across seven essays, Schneider presents a forensic and unique examination of both contemporary and historical performance, drawing on a variety of elucidating sources including the "America" plays of Linda Mussmann and Suzan-Lori Parks, performances of Marina Abramovic ́ and Allison Smith, and the continued popular appeal of Civil War reenactments. Performing Remains questions the importance of representation throughout history and today, while boldly reassessing the ritual value of failure to recapture the past and recreate the "original."
Waste-eliminating, performance-improvement weapons Discover the best ways to overcome todayÆs most stubborn business issues: waste of resources, personnel, and opportunity. Performance Improvement Methods, by H. James Harrington and Kenneth C. Lomax, details the 85 most effective performance-enhancing weapons you can use to get the most from the least, and get the jump on your competitors. You'll learn about activity-based costing...design of experiments...failure mode and effect analysis...matrix data analysis...process benchmarking, redesign,and reengineering...QFD...simulation modeling...the six-sigma system...value-added analysis...and all the other strategies performance experts have identified as the best ways to promote efficiency and productivity, and maximize opportunities in every arena. This book/CD-ROM package gives you ready-to-download sample forms, agreements and analyses, plus exercises, games,definitions, case histories and more that help you put these creative and efficient tools to work.
This compelling volume explores how war magic and warrior religion unleash the power of the gods, demons, ghosts, and the dead. Documenting war magic and warrior religion as they are performed in diverse cultures and across historical time periods, this volume foregrounds embodiment, practice, and performance in anthropological approaches to magic, sorcery, shamanism, and religion. The authors go beyond what magic ‘represents’ to consider what magic does. From Chinese exorcists, Javanese spirit siblings, and black magic in Sumatra to Tamil Tiger suicide bombers, Chamorro spiritual re-enchantment, tantric Buddhist war magic, and Yanomami dark shamans, religion and magic are re-evaluated not just from the practitioner’s perspective but through the victim’s lived experience. These original investigations reveal a nuanced approach to understanding social action, innovation, and the revitalization of tradition in colonial and post-colonial societies undergoing rapid social transformation.
Over 20 years after the war in Yugoslavia, this book looks back at its two most iconic cities and the phenomenon of exile emerging as a consequence of living in them in the 1990s. It uses examples ranging from street interventions to theatre performances to explore the making of urban counter-sites through theatricality and utopian performatives.
Two key performances by Paul Robeson shed light on the Cold War era
Bosnian Refugees in Chicago: Gender, Performance, and Post-War Economies studies refugee migration through the experiences of survivors of the 1990s wars in former Yugoslavia as they rebuild home, family, and social lives in the wake of their displacement. Ana Croegaert explores post-1970s Yugoslav-era socialism, American neoliberal capitalism, and anti-Muslim geopolitics to examine women’s varied perspectives on their postwar lives in the United States. Based on more than a decade of fieldwork, Croegaert takes readers into staged performances, coffee rituals, protests, memorials, homes, and non-governmental organizations to shine a light on the pressures women contend with in their efforts to make a living and to narrate their wartime injuries. Ultimately, Croegaert argues that refugee women insist on understanding their wartime losses as simultaneously social and material, a form of personhood she labels “injured life.” At a time of mass displacement and heated political debates concerning refugees, Croegaert provides an engaging portrait of a lively and diverse group of women whose opinions on citizenship and belonging are needed now more than ever.
In an increasingly urbanized world, urban terrain has become a greater factor in military operations. Simultaneously, advances in military technology have given military forces sharply increased capabilities. The conflict comes from how urban terrain can negate or degrade many of those increased capabilities. What happens when advanced weapons are used in a close-range urban fight with an abundance of cover? Storming the City explores these issues by analyzing the performance of the US Army and US Marine Corps in urban combat in four major urban battles of the mid-twentieth century (Aachen 1944, Manila 1945, Seoul 1950, and Hue 1968). Alec Wahlman assesses each battle using a similar framework of capability categories, and separate chapters address urban warfare in American military thought. In the four battles, across a wide range of conditions, American forces were ultimately successful in capturing each city because of two factors: transferable competence and battlefield adaptation. The preparations US forces made for warfare writ large proved generally applicable to urban warfare. Battlefield adaptation, a strong suit of American forces, filled in where those overall preparations for combat needed fine tuning. From World War Two to Vietnam, however, there was a gradual reduction in tactical performance in the four battles.