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논문 기본 정보

자료유형
학술저널
저자정보
저널정보
한국영미문학페미니즘학회 영미문학페미니즘 영미문학페미니즘 제20권 제2호
발행연도
2012.1
수록면
253 - 277 (25page)

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Judith Butler, with her theory of performativity, questions the idea of 'stable' identities to insist that identity exists only in a reiterated 'doing' that is coerced by a cultural apparatus. Querying the relation between performativity and performance, this paper first attempts to examine how theatrical performance is ‘othered’ by Austin and Butler who exclude performance from their theories of performativity and also by recent theories of avant-garde theatre—“ideology of modernisms.” Instead of undoing the difference/distance between performativity and performance delineated by Austin and Butler, however, this paper endeavors to re-appropriate the difference from a more dialectical stance. Theatre performance is different from but indispensible “outside” of real life’s performativity. The distance between performativity and performance creates a specific site of seeing that is absolutely necessary for us to reflect on and intervent into the process of making reality. By analyzing the way A Doll’s House exposes, speculates, and communicates gender performativity with focus on three key mis-en-scenes (Doll House, Nora’s Dance, and Nora’s Door), I argue for theatre performance as a site/frame for the investigation on the "concealed or dissimulated conventions" of performativity.

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