Front Matter

Source: TDR (1988-), Vol. 56, No. 4, Precarity and Performance: Special Consortium Issue
(Winter 2012)
Published by: The MIT Press
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 Precarity
Precarityand
andPerformance
Performance
Special
SpecialConsortium
ConsortiumIssue
Issue
Edited by Nicholas Ridout
and Rebecca Schneider

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 TDR
The Drama Review the journal of performance studies

Editor
Richard Schechner

Associate Editor
Mariellen R. Sandford

Consortium Editors
Rebecca Schneider
Brown University
Jill Dolan
Stacy Wolf
Princeton University
William Huizhu Sun

Shanghai Theatre Academy

Managing Editors
Aliza Shvarts
Leon J. Hilton
Books Editor Above: Like postmodern dance, hip hop takes the streets and other
unsanctioned surfaces of the city as a means of expressive self production.
Branislav Jakovljevic
The Rock Steady Crew at the 204th St. playground, New York City, 1981.
Critical Acts Editors
See "A Precarious Dance, a Derivative Sociality" by Randy Martin. (Photo
T. Nikki Cesare-Schotzko
by Henry Chalfant)
Gelsey Bell
Provocation Editors Front Cover: Day 17 of Occupy Wall Street saw zombie bankers chasing
Rabih Mroué money at Zuccotti Park/Liberty Square, New York City, 3 October 2011.
See "It Seems As If... I Am Dead: Zombie Capitalism and Theatrical Labor" by
Julie Tolentino
Rebecca Schneider. (Photo by Timothy Kraus)
Contributing Editors
Fawzia Afzal-Khan Back Cover: My Barbarian, Creative Time Living as Form (10:15—
Eugenio Barba 10:30 am): Part Five: Job Crisis (10:28-10:30 am). Creative Time Summit,
John Bell New York, 2011. See "Just-in- Time: Performance and the Aesthetics of
Tracy C. Davis Precarity" by Shannon Jackson. (Photo by Sam Horine; courtesy of
Guillermo Gomez-Pena Creative Timej
Ong Keng Sen
Barbara Kirshenblatt-Gimblett
Carol Martin
Rabih Mroué
Anna Deavere Smith
Diana Taylor
Ngügi wa Thiong'o
Tadashi Uchino
Susanne Wnnacker

Editorial Assistant
Sareh Afshar

Special Issue Assistant Editor

Michelle Liu Carriger

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 TDR
Precarity and Performance
Consortium Issue, Brown University
Guest Edited by Nicholas Ridout and Rebecca Schneider

Precarity and Performance: An Introduction

Nicholas Ridout and Rebecca Schneider 5

Precarity has become a byword for life in late and later capitalism. How do we pay
attention to precarity—economic precarity, neoliberal precarity—through a close
reading of the performing body? Does the place of the arts in global capitalism, and the
particular relations implied by "affective labor" and "creative capital," mean that we are
working and living in the affect factory? What can theatre and performance tell us about
this condition?

Just-in-Tïme: Performance and the Aesthetics of Precarity

Shannon Jackson 10
Integrating post-Operaismo socia
how such theory complicates and
and affective labor. Such complic
but also in the history and theor

Occupational Realism
Julia Bryan-Wilson
Since the 1970s, some artists hav
art-, this "occupational realism"
the value of art-making. What d
"occupied" by one's work? And w
artistic operation?

Reinventing Precari ty
Critical Art Ensemble

Critical Art Ensemble (CAE) tran

appropriation and repurposing o
the collective attempts to contrib
health and diversity of micro an

A Precarious Dance, a Derivativ

Randy Martin 62
Derivatives are associated attr
manage risks but wind up gen
swirls of circulation. Finance
attendant principles of kinest

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 "Work That Body": Precarity and Femininity in the New Economy
Louise Owen 78

Adapting elements
and practiced globa
scene of precariou
older patriarchal c

Towards an Idle T
Giulia Palladini 95

Foreplay is a labor of d
of potentiality for expe
ofproduction. It is an i
hence subverting the t
Cancer Previval and the Theatrical Fact

Coleman Nye 104

Healthy women who are at
surgically enacting the dise
cancer in advance. In this p
biomedical substance, throu
Handle with Care

Jill H. Casid
At a moment when public support for care cannot be assumed to have social value, close
attention should be paid to the particulars of affective labor that are the (im)material
support of care. Tracing a deliberately false etymology of the term "precarity," a reading
of six "scenes" of care considers how it might be possible to reframe the question of
deathcare through an ethical practice of "intimate distance," and to enable the vital "as
if" labor of imagining support for a good death.

The Scene of Occupation

Tavia Nyong'o
A year on, the Occupy movement is in shambles, according to skeptics. But was it
ever anything but a shambles? A search for Occupy zombies in London and New York
unearths the distinctive forms of dread and refuge on the scene of occupation. Can the
zombies tell us how to disinter ourselves from the living graves of capitalism?

NEW ALLIANCES,
Look at yourself in the
mirror and you'll see
the world, PAVLiving
Art Park, field trip in
Lungo Dora Firenze/Corso
Giulio Cesare (wasteland),
Torino, Italy, 11 October
2011. See "Reinventing
Precarity" by Critical Art
Ensemble. (PAV/Parco Arte
Vivente, Torino; courtesy
of PAV)

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 It Seems As If...I Am Dead: Zombie Capitalism and Theatrical Labor
Rebecca Schneider 150

Reading the zombie marche

production of Ibsen's play J
neoliberal capitalism. What
protest actions are played ac
considering economic precar

Precarity Talk: A Virtual R

Bojana Cvejic, Isabell Lorey

edited by Jasbir Puar 163

With reference to the ongoing economic "
scholars discuss the concept and politics of
precarity is inextricable from our ever-shi
the public sphere, space, life, the human, a

Books

Cutting Performances: Collage Events, Feminist Artists, and the American

Avant-Garde by James M. Harding; Artaud and His Doubles by
Kimberly Jannarone
Mike Sell 178

NAME Readyma
Ana Vujanovic 180
Contesting Performance: G
Heike Roms, and C.J.W.-L
Patricia Ybarra 182

Theatre of Roots: Red

Jisha Menon 184
Troubling Vision: Perfor
Douglas A. Jones, Jr. 186
Illusive Utopia: Theater, Film, and Eve
by Suk-Young Kim
B.R. Myers 188
More Books 190

Student Ess

Congratulations t
University for "M
Michelle Liu Carr
Mystery of Bouit
nearly twice as m
essays earned equ

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