Performing Disability

The actual disabled body in dance and theater closes
representational structures; it is always the most
present presence.
With this as her premise, Telory Davies uses physical
and cognitive
impairment to unsettle naturalized assumptions about
ability.
Changing notions of the body are central to her work
and
contemporary critical theory in general; disability
is her point of
entry into this larger conversation. She proposes actualism as
contemporary disability performance s strongest
means of
transforming U.S. dance and theater. This new
practice makes the
accommodation of difference more tangible and
encourages
audience members to look with alternative viewing
strategies; in
effect, to look differently at difference. Through
interviews and
performance analysis, Davies explores the artists
goals and the
performers experiences in order to demonstrate how
disability
performance challenges non-disabled space,
interpersonal relations,
and definitions of ability. Disability scholars and
activists,
Performance Studies instructors, and anyone
interested in identity
politics will benefit from this book s combination of
theory, history,
and thick description.

Autorentext

Telory Davies is an Assistant Professor in the Department ofTheatre and Dance at Missouri State University, Springfield. She holds a PhD inDramatic Theory and Criticism from Stanford University and an MA in PerformanceStudies from New York University. Davies has published journal articles on theintersection of disability and performance.

Klappentext

The actual disabled body in dance and theater closes representational structures; it is always the mostpresent presence. With this as her premise, Telory Davies uses physicaland cognitive impairment to unsettle naturalized assumptions aboutability. Changing notions of the body are central to her work and contemporary critical theory in general; disabilityis her point of entry into this larger conversation. She proposes"actualism" as contemporary disability performance's strongest means of transforming U.S. dance and theater. This newpractice makes the accommodation of difference more tangible and encourages audience members to look with alternative viewingstrategies; in effect, to look differently at difference. Throughinterviews and performance analysis, Davies explores the artists'goals and the performers' experiences in order to demonstrate howdisability performance challenges non-disabled space,interpersonal relations, and definitions of ability. Disability scholars andactivists, Performance Studies instructors, and anyoneinterested in identity politics will benefit from this book's combination oftheory, history, and thick description.