Downloads

Thirty + essays drawn from the past thirty + years of Philip Auslander’s scholarship are available for download here.

“Live–In Person! The Beatles as Performers, 1963-1966,” Acting Archives, Vol. 10, No. 20, 2020 (published in 2021). Italian version here.

“On Repetition,” Performance Research, Vol. 23, Nos. 4-5, 2018.

“Film Acting and Performance Capture: The Index in Crisis,” PAJ: A Journal of Performance and Art, September 2017. Online version in The Theatre Times linked here.

“The Fame: Performance Art and Celebrity Culture,” Dissect Journal #3, 2016 [dated 2016 but published in 2017].

“21^st Century Girl: Lady Gaga, Performance Art, and Glam Rock.” In Global Glam and Popular Music: Style and Spectacle from the 1970s to the 2000s. Ed. Ian Chapman and Henry Johnson. Abingdon: Routledge, 2016.

With Ian Inglis. “Nothing is Real: The Beatles as Virtual Performers.” In The Oxford Handbook of Music and Virtuality. Ed. Sheila Whitely and Shara Rambaran. Oxford: Oxford University Press, 2016.

“Afterword: So Close, and Yet So Far Away: The Proxemics of Liveness,” in Experiencing Liveness in Contemporary Performance: Interdisciplinary Perspectives, ed. Matthew Reason and Anja Mølle Lindelof. New York, London: Routledge, 2016.

“Music as Performance: The Disciplinary Dilemma Revisited” [Expanded Version]. In Sound und Performance. Thurnauer Schriften zum Musiktheater, Bd. 24. Ed. Wolf-Dieter Ernst. Würzburg: Verlag Königshausen & Neumann, 2015.

“Everybody’s in Show Biz: Performing Star Identity in Popular Music.” In The SAGE Handbook of Popular Music. Ed. Andy Bennett and Steve Waksman. London: SAGE Publications, 2015.

“On the Concept of Persona in Performance,” Kunstlicht Vol. 36, No. 3, 2015.

“Théâtre et performance : l’évasion de la representation.” In Corps en scène, ed. Catherine Courtet et al. Paris: CNRS Editions, 2015.

“Barbie in a Meat Dress: Performance and Mediatization in the 21^st Century.” In Mediatization of Communication. Handbooks of Communication Science. Ed. Knut Lundby. Berlin: De Gruyter Mouton, 2014.

“Jazz Improvisation as a Social Arrangement.” In Taking It to the Bridge: Music As Performance. Ed. Nicholas Cook and Richard Pettengill. Ann Arbor: University of Michigan Press, 2013.

“Sound and Vision: The Audio-Visual Economy of Musical Performance,” in The Oxford Handbook of New Audiovisual Aesthetics, ed. John Richardson, et al. New York: Oxford University Press, 2013.

“Repetition and Theatricality in Ragnar Kjartansson’s Performance Art,” Ragnar Kjartansson: To Music/An die Musik (Zurich, Switzerland: Migros Museum für Gegenwartskunst/JRP|Ringier, 2012). Coming soon!

“Digital Liveness: A Historico-Philosophical Perspective,” PAJ: A Journal of Performance and Art Vol. 34, No. 3, September 2012.

“Lucille Meets GuitarBot: Instrumentality, Agency, and Technology in Musical Performance,” Theatre Journal, Vol. 61, No. 2, December 2009.

“Live and Technologically Mediated Performance,” The Cambridge Companion to Performance Studies, ed. Tracy C. Davis. Cambridge, NY: Cambridge University Press, 2008.

“Motional Abstraction: Alwin Nikolais’s Formalism.” The Returns of Alwin Nikolais: Bodies, Boundaries and the Dance Canon, ed. Randy Martin and Claudia Gitelman. Middletown: Wesleyan University Press, 2007. Coming soon!

“Watch That Man: David Bowie: Hammersmith Odeon, London, July 3, 1973,” Performance And Popular Music: History, Place And Time, ed. Ian Inglis. Aldershot: Ashgate, 2006.

“Musical Personae,” TDR: The Journal of Performance Studies, Vol. 50, No. 1, Spring 2006.

“Humanoid Boogie: Reflections on Robotic Performance,” in Staging Philosophy: New Approaches to Theater and Performance, ed. David Krasner and David Saltz, Ann Arbor: University of Michigan Press, 2006.

“The Performativity of Performance Art Documentation,” Performing Arts Journal, 84, September 2006.

“AnimalCam: Ocularcentrism and Non-Human Performance.”A Performance Cosmology: Testimony from the Future, Evidence of the Past, ed. Judie Christie, Richard Gough, and Daniel Watt. London: Routledge, 2006.

“Performance as Therapy: Spalding Gray’s Autopathographic Monologues,” Bodies in Commotion: Performance and Disability, ed. Philip Auslander and Carrie Sandahl. Ann Arbor: University of Michigan Press, 2005.

“Postmodernism and Performance,” The Cambridge Companion to Postmodernism, ed. Steven Connor. Cambridge: Cambridge University Press, 2004.

“Good Old Rock and Roll: Performing the 1950s in the 1970s,” Journal of Popular Music Studies, Vol. 15, No. 2, 2003.

“Behind the Scenes: Gregor Schneider’s Totes Haus ur,” Performing Arts Journal, Vol. 25, 2003.

“Live From Cyberspace: or, I was sitting at my computer this guy appeared he thought I was a bot,” Performing Arts Journal Vol. 24, No. 1, January 2002.

“‘Just Be Your Self’: Logocentrism and Difference in Performance Theory,” in Acting Reconsidered: A Theoretical and Practical Guide, 2nd edition, ed. Phillip B. Zarrilli. London, New York: Routledge, 2002.

“Looking at Records,” TDR: The Journal of Performance Studies, Vol. 45, No. 1, Spring 2001.

“Fluxus Art-Amusement: The Music of the Future?” [revised and expanded version], Contours of the Theatrical Avant-Garde: Performance and Textuality, ed. James Harding. Ann Arbor: University of Michigan Press, 2000.

“Boal—Blau—Brecht: the Body,” Playing Boal, ed. Jan Cohen-Cruz and Mady Schutzman. London, New York: Routledge, 1994.

“‘Brought to You by Fem-Rage’: Stand-up Comedy and the Politics of Gender,” Acting Out: Feminist Performances, ed. Lynda Hart and Peggy Phelan. Ann Arbor: University of Michigan Press, 1993.

“Going with the Flow: Performance Art and Mass Culture,” TDR: The Journal of Performance Studies, January 1992.

“Toward a Concept of the Political in Postmodern Theatre,” Theatre Journal, March 1987.