In The Archive and the Repertoire pre-eminent performance studies scholar Diana Taylor provides a new understanding of the vital role of performance in the Americas. From plays to official events to grassroots protests, performance, she argues, must be taken seriously as a means of storing and transmitting knowledge. She shows how the repertoire of embodied memory - conveyed in gestures, the spoken word, movement, dance, song, and other performances - offers alternative perspectives to those derived from the written archive and is particularly useful to a reconsideration of historical processes of transnational contact. The Archive and the Repertoire invites a re-mapping of the Americas based on traditions of embodied practice. Taylor considers contemporary performances from North and South America. Among these are public demonstrations in Argentina over DNA and photographic identification of "the disappeared;" plays of Peru's leading theatre collective, Yuyachkani; performance artists Coco Fusco and Guillermo Gomez-Pena's show Two Undiscovered Amerindians Visit..., astrological readings by Univision personality Walter Mercado, the theatre of mourning surrounding Princess Diana's death, and Brazilian artist Denise Stoklos' Civil Disobedience. Through these studies and meditations on the media's representation of the Twin Towers disaster, New Yorkers' participation in the crisis through memorials and photography, and her own role as a witness to the events of 9/11, Taylor highlights the crucial role of performance in culture.
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讀後感
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do justice to the role of performance in transmitting cultural memory and reveals the power structure beneath the unbalanced relations between the archives of the assumingly enduring textual and physical materials and the repertoire of the embodied experience
评分花一晚上看完瞭第一章，後麵具體的案例沒看瞭。對performance studies的梳理提綱挈領，提齣的archive和repertoire的區分雖然有缺陷但很有啓發。錶演研究是少有的完全從身體和情感角度來研究記憶的領域，一定程度上也提醒記憶研究學者反思學界對文本和再現的執迷。但是，究竟如何研究具身記憶（研究方法）？對具身記憶的研究成果是否不可避免地要以中介記憶的形式（文字）來呈現？還有不少問題可以進一步討論。
评分do justice to the role of performance in transmitting cultural memory and reveals the power structure beneath the unbalanced relations between the archives of the assumingly enduring textual and physical materials and the repertoire of the embodied experience
评分花一晚上看完瞭第一章，後麵具體的案例沒看瞭。對performance studies的梳理提綱挈領，提齣的archive和repertoire的區分雖然有缺陷但很有啓發。錶演研究是少有的完全從身體和情感角度來研究記憶的領域，一定程度上也提醒記憶研究學者反思學界對文本和再現的執迷。但是，究竟如何研究具身記憶（研究方法）？對具身記憶的研究成果是否不可避免地要以中介記憶的形式（文字）來呈現？還有不少問題可以進一步討論。
评分花一晚上看完瞭第一章，後麵具體的案例沒看瞭。對performance studies的梳理提綱挈領，提齣的archive和repertoire的區分雖然有缺陷但很有啓發。錶演研究是少有的完全從身體和情感角度來研究記憶的領域，一定程度上也提醒記憶研究學者反思學界對文本和再現的執迷。但是，究竟如何研究具身記憶（研究方法）？對具身記憶的研究成果是否不可避免地要以中介記憶的形式（文字）來呈現？還有不少問題可以進一步討論。
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