Rebecca Schneider, Oct 11, 7pm

Art and War in Times of Theatrical Reenactment-Lecture by Rebecca Schneider(US)

Rebecca Schneider will offer a talk drawn for her recent book Performing Remains: Art and War in Times of Theatrical Reenactment. Her talk, drawing on examples, will deal primarily with what Gertrude Stein termed "syncopated time,"referring to theatre in general.
What part of theatre touches visual art practice in performance-based reenactment?  What is the time of reenactment? Can time be touched, experienced, felt? If so, is linear time, and the progress narratives that attach to it in secular capitalism, come undone? What are the implications of such an undoing? In her recent book, Schneider looks at work as disaperate as Marina Abramovic's recent reenactment spectacles, American Civil War battle reenactments, Tino Sehgal's nondance dance, hyper-theatrical photography, and war protest reenactments by such artists as Sharon Hayes, Mary Kelly, Mark Tribe, and Allison Smith to ask: why now? 


Rebecca Schneider

Associate Professor of Theatre Arts and Performance Studies at Brown University,US. Chair of the Department of Theatre, Speech, and Dance, teaches performance studies, theater studies, and theories of intermedia. She is the author of Performing Remains: Art and War in Times of Theatrical Reenactment (Routledge 2011) and The Explicit Body in Performance (Routledge, 1997). She has coedited the anthology Re:Direction: A Theoretical and Practical Guide to 20th-Century Directing. Consortium editor with TDR: A Journal of Performance Studies she is also coeditor with David Krasner of the book series "Theatre: Theory/Text/Performance" with University of Michigan Press. Schneider has published essays in several anthologies, including “Hello Dolly Well Hello Dolly: The Double and Its Theatre” in Psychoanalysis and Performance, “See the Big Show” in Acting Out: Feminist Performance, “Patricide and the Passerby” in Performance and the City, and the essay "Solo Solo Solo" in After Criticism, among others. As a "performing theorist," she has collaborated with artists at such sites as the British Museum in London, the Kunsterhaus Mousonturm in Frankfurt, the Gulbenkian in Lisbon, and the Mobile Academy in Berlin. She has delivered lectures on the intersections of art and theatre at museums such the Guggenheim in New York and at a variety of art schools in the U.S., Germany, and Canada.  


entrance free

Reserve at

Weld, Norrtullsgatan 7, tube-Odenplan

Supported by the Swedish Arts Grants Commitee