Teaching Performance Studies Edited by Nathan Stucky and Cynthia Wimmer Foreword by Richard Schechner October 2002 ISBN 0-8093-2466-0, $29.50 paper ISBN 0-8093-2465-2, $50.00 cloth 304 pages, 7 illus., 6 x 9 Performance Studies / Theatre Studies   Theater in the Americas Robert A. Schanke, series editor Teaching Performance Studies “recounts a wide variety of teaching methods, experiences, theories, and approaches. All of it fits under the big performance studies tent. . . . An elusive, playful, embodied, multifaceted, protean operation: Teaching performance studies is very much a creative art.” —Richard Schechner, from the Foreword   Edited by Nathan Stucky and Cynthia Wimmer, Teaching Performance Studies is the first organized treatment of performance studies theory, practice, and pedagogy. This collection of eighteen essays by leading scholars and educators reflects the emergent and contested nature of performance studies, a field that looks at the broad range of human performance from everyday conversation to formal theatre and cultural ritual. The cross-disciplinary freedom enacted by the writers suggests a new vision of performance studies—a deliberate commerce between field and classroom.     Nathan Stucky is an associate professor and the chair of the Department of Speech Communication at Southern Illinois University Carbondale. He has edited Theatre Annual: A Journal of Performance Studies and has served as the chair of the Performance Studies Division of the National Communication Association and on the executive board of Performance Studies International.   Cynthia Wimmer has taught courses in playwriting and performance theory at the University of Maryland at College Park. She is a founding member of the Performance Studies Focus Group of the Association for Theatre in Higher Education and is the former chair of the American Drama Panel of NEMLA.   Contributors and Contents Nathan Stucky and Cynthia Wimmer, “Introduction: The Power of Transformation in Performance Studies Pedagogy” Joseph Roach, “Theatre Studies/Cultural Studies/Performance Studies: The Three Unities” Elyse Lamm Pineau, “Critical Performative Pedagogy: Fleshing Out the Politics of Liberatory Education” Richard F. Ward, “Speaking of God: Performance Pedagogy in the Theological School” Craig Gingrich-Philbrook, “The Queer Performance That Will Have Been: Student-Teachers in the Archive” William O. Beeman, “Performance Theory in an Anthropology Program” Michelle Kisliuk, “The Poetics and Politics of Practice: Experience, Embodiment, and the Engagement of Scholarship” Judith Hamera, “Performance Studies, Pedagogy, and Bodies in/as the Classroom” Nathan Stucky, “Deep Embodiment: The Epistemology of Natural Performance” Phillip B. Zarrilli, “Action, Structure, Task, and Emotion: Theories of Acting, Emotion, and Performer Training from a Performance Studies Perspective” Michael S. Bowman and Ruth Laurion Bowman, “Performing the Mystory: A Textshop in Autoperformance” Joni L. Jones, “Teaching in the Borderlands” Arthur J. Sabatini, “The Dialogics of Performance and Pedagogy” Linda M. Park-Fuller, “Improvising Disciplines: Performance Studies and Theatre” Cynthia Wimmer, “‘I Dwell in Possibility—’: Teaching Consulting Applications for Performance Studies”   Eric Dishman, “Performative In(ter)ventions: Designing Future Technologies Through Synergetic Performance” Bruce McConachie, “Theatre of the Oppressed with Students of Privilege: Practicing Boal in the American College Classroom” John Emigh, “Performance Studies, Neuroscience, and the Limits of Culture”

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