W. B. Worthen

Drama, Performativity, and Performance*

Drama, Edim ve Performans

W. B. WORTHEN is professor of English and of theater and dance at the University of California, Davis. His books include The Idea of the Actor (Princeton UP, 1984), Modern Drama and the Rhetoric of Theater (U of California P, 1992), and Shakespeare and the Authority of Performance (Cambridge UP, 1997). He is working on the performance of national identities in contemporary drama and theater

THERE IS a conceptual crisis in drama studies, a crisis reflected -JL in the ways different disciplinary styles approach questions about dramatic texts, theatrical productions, and performance in general. Drama çalışmalarında kavramsal bir kriz vardır, kriz farklı disiplin tarzları dramatik metinleri, tiyatro prodüksiyonları ve genel performansı hakkında sorulan bir yaklaşım yollarla-JL yansıtıyordu.In the introduction to Performance and Cultural Politics, Elin Diamond provides an exemplary account of contemporary interest in performance and, in a gesture that has now become reflex, suggests why this interest necessarily sidesteps the narrowly authorized performances of dramatic theater. Performans ve Kültürel Siyaset Giriş bölümünde, Elin Elmas, artık refleks haline gelmiş bir jest performans çağdaş ilgi ve örnek bir hesap verir bu ilginin mutlaka dramatik tiyatro dar yetkili performansları sidesteps neden öneriyor.As a consequence, she argues, of late-1960s experimental theater, the effect of theory on writing about performance, and "poststructuralist theorizing (Barthes on Brecht, Derrida on Artaud), performance came to be defined in opposition to theater structures and conventions. Sonuç olarak, o geç 1960'ların deneysel, sonrasında, performansı hakkında yazma teorisinin etkisi ve kuramı "postyapısalcı (Artaud üzerine Brecht, Derrida üzerine Barthes) savunuyor, performans tiyatro yapıları ve muhalefet tanımlanabilir geldi sözleşmeler.In brief, theater was charged with obeisance to the playwright's authority, with actors disciplined to the referential task of representing fictional entities" (3). Kısacası, tiyatro hayali varlıklar "(3) temsil başvuru göreve disiplinli aktörlerle, oyun yazarı yazarı ¬ ity için saygı ile suçlandı. Although there has been an explosion of "performance discourse, and its new theatrical partner, 'performativity,'" in many respects this expanding investment in performance has "floated free of theater precincts" and of the modes of performance and performance analysis associated with theater and drama (2). Birçok bir patlama "performans dis ¬ ders ve yeni tiyatro ortağı 'performativity, '" olmasına rağmen performans bu genişleyen yatırım vardır saygı "tiyatro bölgesine serbest yüzen" ve ilgili performans ve performans analizi modları ile tiyatro ve drama (2). Indeed, performance has been so "honored with dismantling textual authority, illusionism, and the canonical actor" that it is questionable whether any frontier remains between dramatic studies and performance studies (3). Gerçekten performans "ve metinsel otorite, hokkabazlık sökülmesi ile onurlandırıldı ¬ cal aktör canoni" öyle oldu o şüpheli herhangi bir sınır dramatik çalışmaları ve performans çalışmaları (3) arasında kalır mı. The reasons for this "ter-minological expansion of performance and its drift away from theater" (12n22) have to do in part with the different disciplinary investments of performance studies and literary studies. Bunun nedenleri "performans ter ¬ minological genişleme ve uzak tiyatroya olan drift" (12n22) performans çalışmaları ve edebi çalışmaların farklı disiplin yatırımları ile kısmen yapmak zorundayız. Literary engagements with performativity tend to focus on the performative function of language as represented in literary texts, and much performance-oriented criticism of drama, for all its invocation of the theater, similarly betrays a desire to locate the meanings of the stage in the contours of the dramatic text. ¬ formativity başına sahip Edebiyat nişan, tiyatronun tüm çağrı için edebi metinler temsil dilin performatif fonksiyonu ve drama çok performans odaklı eleştiri, odaklanma eğilimindedir benzer sahne anlamlarını bulmak için bir arzu ihanetdramatik metnin kontür. Performance studies has developed a vivid account of nondramatic, non-theatrical, nonscripted, ceremonial, and everyday-life performances, performances that appear to depart from the authority of texts. Performans çalışmaları, non-tiyatro, nonscripted, tören ve günlük yaşam nondramatic performansları bir canlı hesap geliştirdi, metinlerin makamdan ayrılmak için görünür performansları. Both disciplines view drama as a species of performance driven by texts; as a result, drama appears to be an increasingly residual mode of performance.Her iki disiplinin metinler tarafından yönlendirilen bir performans tür olarak drama görmek; bir sonucu olarak, drama performansı giderek kalıntı modu gibi görünüyor.

In the past two decades, the literary discussion of drama has developed a sophisticated approach to performance, a critical vocabulary for considering the interplay between the

* PMLA, Vol. 113, No. 5 (Oct., 1998), pp. 1093-1107.

scripted drama and the (actual, implied, or imagined) practices of stage performance. Son iki yıl içerisinde, drama edebi tartışma performans sofistike bir yaklaşım, senaryosunu drama ve sahne performansı (gerçek, zımni ya da hayali) uygulamalar arasındaki etkileşimi göz önüne alınarak için eleştirel bir dil geliştirmiştir. In Shakespeare studies—one corner of literary study where performance has had an effect—the analysis of stage performance is motivated by a disciplinary interest in the dramatic text, and not surprisingly, many discussions of the stage implicitly take performance to be underwritten by a text. Shakespeare In edebi çalışmanın çalışmalar-bir köşesinde performans şaşırtıcı ve dramatik metin bir disiplin ilgi motive olup sahne performansının bir ef ¬ fect-analiz etti nerede, sahne im birçok tartışmalar olmak performans almak plicitly ¬ metin tarafından underwritten. This view is exemplified by important studies that collocate theatrical practice with Shakespeare scholarship (Styan, Shakespeare Revolution', Taylor, Reinventing Shakespeare), that trace histrionic (Goldman, Acting and Shakespeare) or illocution-ary (Berger) patterns latent in the play texts, that describe the performance "discoveries" productions make about the plays (Warren 3) or the "decisions" any production must confront in staging a text (Daw-son xi), or that interpret the dramatic text not only as encoding practices current in the era of the play's composition (gender trouble in Shakespeare's plays reflected in cross-dressing by male actors playing female roles, for example) but also as responding to the circumstances of modern stage performance.1 Bu görüşe de illocution-li (Berger) desenleri latent veya (Goldman, Oyunculuk ve Shakespeare) histrionik iz Shakespeare burs (Styan, Shakespeare Devrimi ', Tay ¬ lor, Reinventing Shakespeare) ile tiyatro uygulama düzenlemek önemli çalışmalar, örneklenirperformans "keşifler" yapımları tarif oyun metinleri, çalış (Warren 3) veya herhangi bir üretim, bir metin (Demir ¬ oğlu xi) evrelemesinde yüzleşmek gerekir ya da dramatik metin değil, sadece kodlama uygulamaları yorumlayan "kararları" hakkında olunoyunun kompozisyon döneminde geçerli ama (Shakespeare'in cinsiyet sorun çapraz örneğin kadın rolleri oynayan erkek aktörler tarafından pansuman yansıyan çalış) aynı zamanda modern sahne performance.1 koşulları yanıt olarak. While these modes of performance analysis are highly developed in Shakespeare studies, similar scholar formations orbit around other playwrights, where criticism traces performative features of the drama to designs in the dramatic text—Chekhov (Styan, Chekhov), Beckett (Cohn), and Moliere (Whitton) come to mind, as do classical Greek dramatists (Taplin; McDonald). Performans analizi bu modları çok Shakespeare çalışmalar, diğer yazarlar, çevresinde benzer bilgin oluşumları yörüngede gelişmiş olmasına rağmen nerede dramatik metin Çehov (Styan, Çehov), Beckett (Cohn) tasarımlar için drama eleştiri izleri performatif özellikleri ve Moliere (Whitton) olarak klasik Yunan dra ¬ matists (; McDonald Taplin) yapmak, akla geliyor.

As Michael Bristol and others have observed, this view of text and performance places performance in a "ministerial" or "derivative" relation to the dramatic text, which is regarded as the authentic ground or source of theatrical meaning (Shakespeare's America 105; Big-Time Shakespeare 61). Michael Bristol ve diğerleri gözlemlediği gibi, otantik zemin ya da tiyatral bir anlam (Shake ¬ speare's America 105 kaynağı olarak kabul edilir dramatik metin, bir "bakanlık"ya da "türev" ilişkin metin ve performans yerlerde performans bu görüşü; Büyük-Time Shakespeare 61). There are various reasons to question this model of performance, and the "expansive interdisciplinary or postdisciplinary agenda" (Roach, Cities xii) of performance studies might be expected to relocate dramatic performance within a wider perspective, an "antidiscipline" (Carlson 188-89) not concerned with maintaining the priority of texts or with seeing performance merely as a side effect of dramatic writing. Flourishing in an ambiguous tension with theater studies and drama studies, performance studies now traces the horizon of an energetically expanding field characterized by a range of aims, methods, and objects of inquiry: Bu performans modeli soruya çeşitli nedenlerle performans çalışmaları "geniş disiplinler arası veya postdisciplinary gündemi" (Roach, Şehirler xii) vardır ve daha geniş bir bakış açısı, bir "antidiscipline" (Carlson 188-89 içinde dramatik performans taşınmaya beklenebilir ) metinlerin öncelikli korunması veya dramatik emri ¬ ing bir yan etkisi olarak sadece performansını görme ile ilgili değil. Şimdi ¬ ater çalışmaları ve drama çalışmaları, performans çalışmaları izler amaçları, yöntemleri bir dizi ile karakterize bir enerjik genişletmek ¬ ing alan ufuk, ve soruşturma nesnelerle belirsiz bir gerginlik gelişecektir:

As Michael Bristol and others have observed, this view of text and performance places performance in a "ministerial" or "derivative" relation to the dramatic text, which is regarded as the authentic ground or source of theatrical meaning (Shakespeare's America 105; Big-Time Shakespeare 61). Michael Bristol ve diğerlerinin gözlemlediği gibi, metin ve performansın bu bakış açısı performansı, tiyatral anlamın kaynağı ya da özgün tabanı olarak da bilinen dramatic metin ile olan ilişkisini “zorunlu” ya da “türemiş” olarak değerlendirir. (Shakespeare's America 105; Big-

Time Shakespeare 61). There are various reasons to question this model of performance, and the "expansive interdisciplinary or postdisciplinary agenda" (Roach, Cities xii) of performance studies might be expected to relocate dramatic performance within a wider perspective, an "antidiscipline" (Carlson 188-89) not concerned with maintaining the priority of texts or with seeing performance merely as a side effect of dramatic writing. Bu performans modelinin sorgulanmasını gerektiren birçok neden vardır ve performansın “geniş kapsamlı disiplinlerarası ya da disiplinlersonrası gündemi” çalışmalarının (Roach, Cities xii) dramatic performansı, sadece dramatic yazımın bir yan etkisi olarak görmek ya da metinlerin önceliğini belirlemek dışında bir “karşı-disiplin” olarak daha geniş bir bakış açısıyla yeniden incelemesi beklenir. Flourishing in an ambiguous tension with theater studies and drama studies, performance studies now traces the horizon of an energetically expanding field characterized by a range of aims, methods, and objects of inquiry: ethnographies of performance (Conquergood, "Ethnography, Rhetoric" and "Rethinking Ethnography"; Limon; Taussig); psychoanalytic (Phelan) and postcolonial (Bharucha; Savigliano) models of representation; institutional studies (Cole; Patraka); studies of street performance (Roach, "Mardi Gras Indians"), performance art (Schneider), and performance in everyday life (Kapsalis); and theoretical investigations of identity performance (Butler, Gender Trouble). Tiyatro çalışmaları ve drama çalışmaları ile ikili bir gerginliğin doğmasıyla, performance çalışmaları hızla gelişen, araştırmalarında birçok amaç, yöntem ve hedef belirleyerek ilerleyen performans çalışmaları zemin değiştirmektedir: performansın etnografyası (Conquergood, "Ethnography, Rhetoric" and "Rethinking Ethnography"; Limon; Taussig); psikoanalitik (Phelan) ve sunumun post-sömürgesel modelleri (Bharucha; Savigliano); enstitü çalışmaları (Cole; Patraka); sokak performansı çalışmaları (Roach, "Mardi Gras Indians"), performans sanatı (Schneider) ve günlük yaşamda performans (Kapsalis); ve kişilik performanslarının teorik incelemeleri (Butler, Gender Trouble).Yet the burgeoning of performance studies has not really clarified the relation between dramatic texts and performance. Fakat yeni yeni gelişen performans çalışmaları dramatic metinler ile performans arasındaki ilişkiyi tam olarak açıklayamamaktadır. As an object of and vehicle for sustained theoretical inquiry, dramatic performance often emerges in performance studies marked with the vague contemptibility of the familiar. Teorik araştırmaların hedefi ve aracı olarak, dramatic performans bilinen belirsizlik ile tanımlanır. As Richard Schechner puts it in a now notorious comment in TDR: "[T]heatre as we have known and practiced it—the staging of written dramas—will be the string quartet of the 21st century: a beloved but extremely limited genre, a subdivision of performance" ("New Paradigm" 8). Richard Schechner TDR’de bilinen bir öneri öne surer: "[T]iyatro, bizim bildiğimiz ve ortaya koyduğumuz gibi-yazılı dramaların sahnelenmesi- 21. yüzyılın sıralı dörtlüsü olacaktır: değerli fakat oldukça sınırlı bir tür, performansın altbölümü” ("New Paradigm" 8).

How practitioners of performance studies and of dramatic studies understand dramatic performance is important, not because Schechner is wrong, but because he is mainly right. Schechner yanıldığı için değil, tam tersi haklı olduğu için Performans çalışmaları ve dramatic çalışmalar araştırmacılarının dramatic performansı nasıl gördükleri önemlidir. Understanding dramatic performance as authorized in a relatively straightforward way by a scripted text does indeed consign theater (and criticism that understands performance to be determined by the text) to some faded conceptual Levittown: dramatic performance is a series of authorized reproductions, each plotted on the blueprint of the authorial text. Dramatik performansı yazılı metin ile oldukça açık bir şekilde anlamak tiyatroyu zamanı geçmiş bir kavram olarak bırakır Levittown:dramatik performans yazarsal metin modeli üzerinde çizilmiş bir dizi uzman üretimdir. It may be that at this moment in the history of cultural production in the West, the performance of plays is residual, a mode of production fully inscribed within a discourse of textual and cultural authority (e.g., Shakespeare or Beckett) that other kinds of performance are able to engage in more resistant, oppositional, emergent ways. Bu aşamada, Batı’daki kültürel üretim tarihinde, oyunların performansı kalıcıdır ki bu diğer performans türlerini daha dayanıklı, muhalif ve belirgin bir şekilde birleştirebilen metinsel ve kültürel bir söylem ile tamamen çizilen bir tüe üretim şeklidir. Yet although the sense of dramatic performance as a performance of a play is widespread, as John Rouse remarks, just "what the word of means" in this context is "far from clear" (146). Fakat, bir oyunun performansı olarak dramatik performans algısı, John Rouse’un değindiği gibi, bu metindeki “kelimelerin ne anlama geldiği” “anlaşılır olmaktan uzaktır” fikri yaygındır (146). How can performance studies help move the literary conception of drama beyond the incapacitating notion of performance as a version of the text, a version emptied of

multiplicity and ambiguity through the process of (authorized) embodiment? Peki performans çalışmaları performansın metnin bir çeşitlemesi olduğu, çeşitliliğin boşalmış çeşidi olduğu ve (uzman) düzenleme süreci boyunca ortaya çıkan belirsizlik olduğu inanışını etkisizleştirmesi dışında edebi bir kavram olarak algılanmasına nasıl yardımcı olabilir?

I

One way literary scholars have adapted their understanding of texts to the environment of performance is by using Austin's approach to speech acts, working to see the performative mediating between language and modes of doing. Edebiyatçılar metinleri olan bakış açılarını Austin’in dil ve eylem çeşitlerini bağdaştıran edimleri görebilmek için çalıştığı konuşma eylemleri yaklaşımını kullanarak performsın ortamına uyarlamışlardır. Much as literary scholars tend to see dramatic performance as lapsed reading deriving from the proper meanings prescribed by the text, Austin is notoriously skeptical of theatrical performatives. Her ne kadar edebiyatçılar dramatik performansı metin tarafından tanımlanan özel anlamalardan türetilen zaman aşımına uğramış incelemeler olarak görse de, Austin herkesin bildiği gibi tiyatral edimlerden kuşkuludur. Austin, of course, finds theatrical discourse peculiarly "hollow"—"performative utterance will, for example, be in a peculiar way hollow or void if said by an actor on the stage" (22)—insofar as it exemplifies a special class of infelicitous utterance in which the motives of the agent ("persons having certain thoughts or feelings" [15]) are insincere or are not directly embodied in subsequent conduct (an utterance can also be hollow in this sense if "introduced in a poem, or spoken in soliloquy" [22]). Elbette Austin tiyatral söylemi tuhaf bir şekilde “boş”-“edimsel sözce, örneğin, sahnede bir aktör tarafından dile getirilirse tuhaf bir şekilde boş ya da gereksiz olacaktır”(22)- bir temsilcinin (“belirli düşünceleri ya da duyguları olan insanlar”) hareketlerini de içeren yersiz sözcelerin özel bir sınıfı örneklediği kadarıyla samimiyetsiz ya da doğrudan sonraki davranışlarda (bu bağlamda bir sözce eğer “bir şiirde ya da monolog konuşmada bulunursa boş olabilir.”(22))şekillenmediğini söyler. Austin excludes such hollow utterance from consideration precisely because it uses language in ways he finds "parasitic upon [language's] normal use—ways which fall under the doctrine of the etiolations of language" (22). Austin böyle boş bir sözceyi düşünceden kesinlikle ayırır çünkü o dili normal (dil) kullanımı üzerinde “bir parazit olarak-dilin soldurulması prensibi altında” kullanır (22).Oddly enough, while Austin's cavalier dismissal of theatrical performatives—hollow to whom? In what sense?—now seems to drive literary studies toward performativity and performance, it does so by asserting the peculiar hollowness of dramatic theater. Yeterince tuhaf bir şekilde, Austin’in tiyatral edimleri küçümseme yaklaşımı-kime göre boş?hangi anlamda?- edebi çalışmaları edimselliğe ve performansa yöneltmesine rağmen, dramatic tiyatronun tuhaf boşluğunu savunur.

Several recent efforts to use Austin to reclaim performance from dramatic theater work in this way, segregating unscripted performance from the tawdriness of the stage to liberate performance (and performance studies) from its infelicitous connection to the theatrical (and to theater studies). Andrew Parker and Eve Kosofsky Sedgwick, for instance, use Austin to chart a "convergence" between literary studies and performance studies that has pushed performativity "onto center stage" (1): "If one consequence of this appreciation has been a heightened willingness to credit a performative dimension in all ritual, ceremonial, scripted behaviors, another would be the acknowledgment that philosophical essays themselves surely count as one such perfor-mative instance" (2). Andrew Parker ve Eve Kosofsky Sedgwick, örneğin, Austin’i edebi çalışmalar ve “sahne üzerinde” edimselliği ortaya koymuş olan performans çalışmaları (1): “bu değerlendirmenin bir sonucu olarak abartılı bir istek oluşmasıdır. arasında bir “yakınlık” çizmek için kullanırlar.Despite this disciplinary prejudice, Parker and Sedgwick nonetheless read Austin in a way that imagines a more subtle and adequate relation among drama, theater, and performance. Bu disiplinsel önyargıya rağmen, Parker ve Sedgwick yine de Austin’i drama, tiyatro ve performansla arasında daha yakın ve yeterli bir ilişki hayal ederek okur. Developing the reading of Austin in Derrida's "Signature Event Context," Parker and Sedgwick note that Austin's exclusion of theatrical discourse from ordinary performance finally predicates performative utterance on the "hollow" citationality characteristic of the stage. Derrida'nın "Signature Event Context"deki Austin okumasını geliştiren Paker ve Sedgwick, Austin’in sıradan performansı tiyatro söyleminden ayırmasında sahnenin “içi boş” alıntılama özelliği üzerinde performatif söyleyişe dayandırdığını belirtirler. Parker and Sedgwick open the terrain of the performative by deconstructing Austin's opposition between "normal" and etiolated performance, between the

felicitously performative and the theatrical: performative speech cannot be distinguished from the "hollow" utterances of the stage on the basis of originality, as though nontheatrical speaking were authentic and nonrepetitive. Parker ve Sedgwick performatif bölgesini Austin’in “normal” ve solmuş performansı arasındaki karşıtlığı yıkarak, sözlü performatif ve tiyatral arasında: tiyatral olmayan konuşma otantik ve tekrarlanamazmış gibi performatif konuşma, özgünlük temelinde sahne "içi boş" sözleri ayırt edemez. Performatives can work felicitously only to the extent that they, like theatrical performance, are reiterable, that they signify through a process of citation; utterances perform actions only when they iterate familiar verbal or behavorial regimes. Edimler, tiyatral performans gibi, mükerrer olduğu sürece isabetli bir şekilde çalışabilir ki onlar alıntılama sürecine işaret ederler; sözler sadece bilinen sözlü ya da davranoşsal rejimleri tekrarladıklarında eyleme dönüşür. But while this deconstruction reveals the citational "hollowness" of ordinary language performatives, it does not seem, conversely, to render the "hollowness" peculiar to the stage any more felicitous.4 Fakat bu yıkım sıradan dil edimlerinin alıntısal “boşluğunu” ortaya koyar, tam tersine o “boşluğu” daha isabetli bir sahnye dönüştürmez. While ordinary-language performatives signify not as words but as a reiteration of various ideological and behavorial regimes, theatrical performance—in the conventional literary sense assumed by Austin and by Parker and Sedgwick—is understood principally in literary terms, as a mode of speaking scripted words. Sıradan dil edimleri sözcükler yerine ideolojik ve davranışsal rejimlerin yinelemesi olarak belirtirlerken, tiyatral performans – Austin, Parker ve Sedgwick tarafından ortaya atılan geleneksel edebi anlamda- prensip olarak yazılı sözcüklerin bir türü olarak görülürler. The theater, in this sense, is understood to signify principally by reiterating the dramatic text (a mode of citation that renders theater peculiarly "hollow"), not by deploying scripted language in the constitutive citational behaviors proper to the circumstances of utterance, here to the stage. Bu bağlamda, tiyatro, sözcelere uygun olarak aktarılan temel davranışlarda senaryoyu dağıtarak değil, prensip olarak dramatik metinlerin yinelemesi olarak görülür (tiyatroyu tuhaf bir şekilde “boşluğa” çeviren alıntılama türü). But is it language, the text, that motivates the force of dramatic performance? Is it, in other words, the dramatic text that the citational performances of the theater cite? Fakat dramatik performans gücünü harekete geçiren dil, metin, midir? Diğer bir deyişle, dramatik metin, tiyatro aktarılan performansı mıdır?

"When is saying something doing something? And how is saying something doing something?"— as Parker and Sedgwick imply, one of the problems of modeling dramatic performance on Austinian performativity is that performance is reduced to the performance of language, words, as though dramatic performance were merely, or most essentially, a mode of utterance, the (infelicitous) production of speech acts (1). Bir şeyi ne zaman yaparsın? Ve nasıl yaparsın?- Parker ve Sedgwick’in de belirttiği gibi, Austin’in edimselliğine göre dramatik performansı şekillendirme sorunlarından biri de performansın, dramatic perdormans sadece bir çeşit sözce, söz edim üretimiymiş gibi dil performansı olarak tanımlanmasıdır (1). The conundrum that Parker and Sedgwick enact here has to do with their view of dramatic performance—or the mode of utterance known as acting—as a straightforward citation of the dramatic text and nontheatrical performance (the marriage ceremony, for example) as a mode of citation that extends well beyond the text ("I do"), that reconstitutes the meanings of the text instead of being determined by those meanings. Parker ve Sedgwick’in burada aldığı kararlar, (“ben yaparım”) anlamlarıyla tanımlanmak yerine metnin anlamını yeniden inşa eden bir aktarım çeşidi olarak, basit bir dramatik metin aktarımı ve tiyatral olmayan performans olarak (örneğin evlilik töreni) onların dramatik performansa-ya da oyun olarak bilinen bir çeşit sözce- bakış açılarıyla ele almak gereklidir. Indeed, it is in this distinction that Parker and Sedgwick's rethinking of speech acts holds the most promise for a rethinking of dramatic performance. Aslında, önemli olan Parker ve Sedgwick’in konuşma eylemlerini yeniden ele almasının dramatik performanssın yeniden yorumlanması için bir umut doğmuş olmasıdır. For while theater remains for them a peculiarly hollow sign of how social hegemonies are reproduced through a conventional apparatus of visibility (the proscenium and the realistic modes of dramatic narrative and audience interaction it shapes), the marriage ceremony provides a searching model of the relation between texts ("I do") and performances, a model more adequate to the task of figuring dramatic performance. Tiyatro onlar için görünürlüğün geleneksel bir aracı olarak, sosyal hakimiyetin ne kadar artırıldığının boş bir işareti olarak kalmasına rağmen, evlilik töreni (“ben yaparım”) metni ve performansı arasındaki ilişkiyi şekillendirme yöntemi sunar ki bu şekil dramatik performansı biçimlendirme görevi için daha

yeterlidir. It is not the text that prescribes the meanings of the performance: it is the construction of the text within the specific apparatus of the ceremony that creates performative force. Performansın anlamını belirleyen metin değildir: edimsel güç yaratan belirlenmiş tören aracı ile metni şekillendirir. The performance is not a citation of the text. Performans metnin bir aktarımı değildir. The ceremony deploys the text—and much else—as part of an elaborate reiteration of a specific vision of social order: the meaning of the performance depends on the citation not of the text but of the regimes of heterosexual socialization, on the interplay among a specific text, individual performers, the "materiality and historical density of performance" (Diamond, Introduction 5), and the web of performance practices that constitute the performance as a mean-ingful citation. Tören metni -ve daha azını- belirgin bir sosyal sıralama görüşünün yinelemesinin bir parçası olarak uygular: performansın anlamı metnin aktarımına değil karşıcinsel sosyalleşme rejimlerine, belli bir metin içindeki karşılıklı etkileşime, “performansın tarihsel ve maddesel yoğunluğu” (Diamond, Introduction5), ve performansı anlamlı bir aktarım haline getiren performans alıştırmaları ağına bağlıdır. Although the theater is, for Parker and Sedgwick, still hollow, their discussion of non-theatrical performance suggests that dramatic per-formance should be released from the charge of "obeisance" to the playwright's or the text's au-thority (Diamond, Introduction 3). Parker ve Sedgwick için tiyatro boş olmasına rağmen, tiyatral olmayan performans tartışmaları için, dramatik performansın oyun yazarına ya da metin uzmanına “saygı gösterilerek” orataya konması gerektiğini söylerler.

Performing reconstitutes the text; it does not echo, give voice to, or translate the text. Performans metni yeniden inşa eder; taklit etmez, seslendirmez ya da tercüme etmez. Performance does not cite the text any more than "I do" constitutes the force of marriage. Performans, metinden evliliğin gücünü gösteren “ben yaparım” yapılarından daha fazla aktarım yapmaz. Instead, performance produces the text within a system of manifestly citational behavior, such that when "a performance 'works,'" it does so "to the extent that it draws on and covers over the constitutive conventions by which it is mobilized" (Butler, Excitable Speech 51). Bunun yerine, performans aktarımsal davranış sistemi ile birlikte metni üretir (Butler, Excitable Speech 51). If, as Judith Butler argues in her critique of the perlocutionary claims of antipornography censorship, "the performativity of the text is not under sovereign control" (69), then the meanings of theatrical performance cannot be attributed to the sovereign control of the dramatic text. Judith Butler’ın pornografi karşıtı sansürlemenin etkisel iddialarında, öne sürdüğü gibi “metnin edimselliği iktidarın kontrolünde değil ise”, tiyatral performansın anlamı dramatik metnin kontrolüne atfedilemez. Does stage performance operate citationally, which accumulate "the force of authority through the repetition or citation of a prior and authoritative set of practices" (51)? “Önceki ve yetkin uygulamalar bütününün aktarımı ya da tekrarı aracılığıyla otorite gücü”nü harekete geçiren sahne performansı, aktarımsal olarak işlev görür mü (51)?As a citational practice, dramatic performance— like all other performance—is engaged not so much in citing texts as in reiterating its own regimes; these regimes can be understood to cite—or, perhaps subversively, to resignify—social and behavorial practices that operate outside the theater and that constitute contemporary social life. Aktarımsal bir uygulama olarak, dramatik performans-diğer bütün performanslar gibi-metinlerin aktarımıyla, kendi rejiminin tekrarında olduğu gibi, bağlantılı değildir; bu rejimler tiyatro dışında işlev kazanan ve temel sosyal yaşamı kuran sosyal ya da davranışsal uygulamaları aktarmak olarak-ya da belirtmek olarak- anlaşılabilir. The citational practices of the stage—acting styles, directorial conventions, scenography—operate on and transform texts into something with performative force: performances, behavior. Sahnenin aktarımsal uygulamaları-oyun tarzları, yönetim kuralları, skenografi-metinler üzerinde işlev kazanır ve onları performans ve davranış ile edimsel güce çevirir. The invocation of Austin tends to associate theatrical performance with speech and so leads ineluctably to the portrayal of a performance's relation to the dramatic text as akin to Austin's account of an utterance's relation to language: dramatic theater is understood as a perlocutionary medium, in which the performance onstage is a direct consequence of performatives inscribed in the text. Austin’in fikirleri tiyatral performansı konuşmayla birleştirmeye eğilimlidir bu yüzden Austin’in sözce ile dil arasındaki ilişkiye yaklaşımına benzer olarak, bu fikirler dramatik metinin performans ile ilişkisini kaçınılmaz kılar: dramatik tiyatro sahnedeki performansı metinde yazılı olan edimin doğrudan bir sonucu olarak anlaşılır. This application of performativity to dramatic performance reinforces the sense that performances are scripted by their texts and so reproduces both traditional and recent disciplinary controversies among drama studies, theater studies, and performance studies. Edimin dramatik performans

üzerindeki bu uygulaması, performansların kendi metinleri tarafından yazıldığı fikrini güçlendirir ve bu yüzden drama çalışmaları, tiyatro çalışmaları ve performans çalışmaları arasındahem geleneksel hem güncel akademik tartışmalar üretilmesine sebep olur. A more consistent rereading of Austin, an application of the deconstruction of "I do" not only to social actions but to dramatic performance as well, would relocate the function of the text in the performance, conceive the text as material for labor, for the work of production. Austin’in daha kapsamlı bir okuması, “ben yaparım” yıkımının sadece sosyal davranışlara değil dramatik performansa uygulanması, üretim aşaması için, performansdaki metin işlevini yeniden kuracak, metnin çalışma için sadece bir malzeme olarak algılanmasını sağlayacaktır. Although dramatic performance uses texts, it is hardly authorized by them: to preserve this claim is to preserve the sense of dramatic performance as a hollow, even etiolated, species of the literary. Dramatik performans metinleri kullanmasına rağmen, onlar tarafından yönetilmeleri zordur: bu iddiayı korumak dramatik performans fikrini bir boşluk olarak, hatta edebiyatın solmuş çeşitleri olarak kabul etmektir.

IIOne of the ways both literary studies and performance studies have misconceived dramatic performance is by taking it merely as a reiteration of texts, a citation that imports literary or textual authority into performance. Edebi çalışmaların ve performans çalışmalarının dramatic performans olarak algılanmasının sebeplerinden biri onu sadece metinlerin yinelemesi olarak, edebi ya da metinsel otoriteyi performansa bağlayan bir alıntı olarak görmelerinden kaynaklanır.

In part because performance studies shares this literary sense of dramatic theater, it has successfully invoked ethnographic models of ritual and everyday-life behavior as a way to redefine performance in explicitly nonliterary and nontheatrical terms. Performans çalışmaları dramatik tiyatronun bu edebi yaklaşımına ortak olduğu için, performs çalışmaları edebi olmayan ve tiyatral olmayan terimlerdeki performansı tekrar tanımlama yöntemi olarak günlük-yaşam davranışı ve etnografik rituel modellerini başarıyla yerine getirmektedir. Not surprisingly, perhaps, Clifford Geertz's readings of culture as text—that have been influential in the practice of new historicism and in its morphing into cultural poetics— provide a defining point of contention. Clifford Geertz’in kültürü metin olarak değerlendirmesi-modern tarihçilik uygulamasında ve kültürel şiir geleneğini şekillendirmede etkin olan- iddiaya bir başlangıç noktası sağlar. For while the textualization of culture enabled literary studies to generalize interpretive practices from texts to other phenomena, the ethnographic approaches invoked in performance studies have come to resist reading performances as texts. In part, this hesitation stems from a laudable desire not to privilege the dramatic theater of the West as a paradigm of performance: not only, of course, are many non-Western performance forms nontextual, but in many of those that use texts—No, for example—the text does not function as it does in conventional Western theater. But this resistance is sometimes also driven by suspicion regarding writing's implication in the reproduction of authority and consequently in the reproduction of social hegemonies. Sıradan dil edimleri sözcükler yerine ideolojik ve davranışsal rejimlerin yinelemesi olarak belirtirlerken, tiyatral performans – Austin, Parker ve Sedgwick tarafından ortaya atılan geleneksel edebi anlamda- prensip olarak yazılı sözcüklerin bir türü olarak görülürler. Resistance to a textualizing ethnology is modeled, in other words, on the dialectic between authorized texts and resistant performances that informs Parker and Sedgwick's understanding of performativity. Edebiyatçılar metinleri olan bakış açılarını Austin’in dil ve eylem çeşitlerini bağdaştıran edimleri görebilmek için çalıştığı konuşma eylemleri yaklaşımını kullanarak performsın ortamına uyarlamışlardır.

In this view—elegantly argued by Dwight Con-quergood ("Ethnography, Rhetoric" and "Rethinking Ethnography")—Geertz's textual model of culture embodies a profound desire to represent other cultures within Western epistemologies. Dramatik performans metinleri kullanmasına rağmen, onlar tarafından yönetilmeleri zordur: bu iddiayı korumak dramatik performans fikrini bir boşluk olarak, hatta edebiyatın solmuş çeşitleri olarak kabul etmektir.

Geertz typically takes the "culture of a people" as "an ensemble of texts, themselves ensembles, which the anthropologist strains to read over the shoulders of those to whom they properly belong" (452). Geertz’in kültürü metin olarak değerlendirmesi-modern tarihçilik uygulamasında ve kültürel şiir geleneğini şekillendirmede etkin olan- iddiaya bir başlangıç noktası sağlar. The Balinese cockfight, to take Geertz's celebrated example, does

what, for other peoples with other temperaments and other conventions, Lear and Crime and Punishment do; it catches up these themes—death, masculinity, rage, pride, loss, beneficence, chance—and, ordering them into an encompassing structure, presents them in such a way as to throw into relief a particular view of their essential nature. (443)

Geertz clearly articulates the practices of other cultures with the role of literature in the West, but what disturbs Conquergood about the textualization of culture is a more fundamental problem. Geertz Batıdaki edebiyatın rolü ile diğer kültür uygulamalarını açıkça belirtmiştir, fakat Conquergood’u kültürün metinselleştirilmesi hakkında rahatsız eden şey daha temel bir problem. Ethnography, to the extent that it reads the culture of nonliterate societies as texts, prolongs a colonizing project, modeling the epistemologies of the other in Western terms. Etnografi, cahil toplumların kültürünü metin olarak okuduğu kadarıyla, Batı terimlerindeki diğer etimolojileri şekillendirerek bir kolonileştirme projesini sürdürür. Conquergood argues that to regard culture as a text and to represent it in writing is to represent the processes of other cultures not only in terms of Western ways of knowing and representation but also in forms—writing, texts—that have often been used to dominate and exploit them. Conquergood kültürü metin olarak değerlendirmeye ve onu yazıda ifade etmenin diğer kültürlerin sürecini ifade etmek bilginin sadece batılı yolları değil onları bastırmak ve dışlamak için sık sık kullanılan yazılı metin halleri olduğunu tartışmıştır.

Performance-sensitive ethnography has the salutary effect of enabling ethnographers and their audiences to recognize and perhaps to circumvent such colonizing epistemologies. Performans odaklı etnografinin etnograflar ve onların takipçileri üzerinde kolonileştirme etimolojilerini tanımlamakta geliştirici bir etkisi vardır. But while performance may share with rhetoric an "opposition to foundationalist thought" (Conquergood, "Ethnography, Rhetoric" 80), to see performance as a mode of resistance to textual authority is to mistake the instrumental for the essential. Fakat performans retorik ile “ temelci düşünceye muhalif olur” ki performansın metinsel otoriteye bir çeşit direniş olduğunu göstermek için (Conquergood, "Ethnography, Rhetoric" 80). While writing (in some situations, at least) may now be associated with colonial hegemony, complicity with authority is hardly foundational to textual practices. Yazma şu aralar koloni hegomanyasıyla paralel görülebilmesine rağmen, otorite ile karmaşa metinsel uygulamalara temel teşkil etmez. The authority of writing and other performances as modes of cultural production is determined much as that of speech acts is: within an elaborate, historically contingent, dynamic network of citational possibilities. Yeterince tuhaf bir şekilde, Austin’in tiyatral edimleri küçümseme yaklaşımı-kime göre boş?hangi anlamda?- edebi çalışmaları edimselliğe ve performansa yöneltmesine rağmen, dramatic tiyatronun tuhaf boşluğunu savunur. Although Conquergood is alert to this point ("How does performance reproduce, enable, sustain, challenge, subvert, critique, and naturalize ideology?" he asks ["Rethinking Ethnography" 190]), the habitual collocation of textuality with authority reflects more clearly on the uses of writing—in ethnographic practice, in a culture at large—than on essential features of texts or performances as forms of cultural production.7 Sahnenin aktarımsal uygulamaları-oyun tarzları, yönetim kuralları, skenografi-metinler üzerinde işlev kazanır ve onları performans ve davranış ile edimsel güce çevirir. Shakespearean drama, for example, might now be taken as an example of textual culture, indeed as part of an avowedly imperial educational project (see Bennett). While it is time for the presumed authority of texts over performances to be displaced, Conquer-good is right to sense that if "the Performance Paradigm simply is pitted against the Textual Paradigm, then its radical force will be coopted by yet another either/or binary construction that ultimately reproduces modernist thinking. The Performance Paradigm will be most useful if it decenters, without discarding, texts" ("Rethinking Ethnography" 191). Yet in some respects, this "radical force" depends on a foundational binary, the untenable opposition between texts and performances. Sahnenin aktarımsal uygulamaları-oyun tarzları, yönetim kuralları, skenografi-metinler üzerinde işlev kazanır ve onları performans ve davranış ile edimsel güce çevirir. For the same reason that Conquergood celebrates the connection between rhetoric and performance in a presumed "opposition to foundationalist thought," it remains important not to relocate that foundation in an opposition between scripted and unscripted performances. To see performance as an "essentially contested concept" (Strine, Long, and Hopkins 183) is to see that contestation taking place not only within performance but along its borders as well, as Joseph Roach implies in suspending a "schematized opposition of literacy and orality as transcendent categories," arguing that "these modes of communication have produced one another inter-actively over time" {Cities 11). Texts—with their boundaries in flux, their authors appearing and

disappearing, even their typography dissolving on the computer screen—might as well be seen as similarly contested fields, fields in which notions of authority are constantly under negotiation, redefinition, change. Yeterince tuhaf bir şekilde, Austin’in tiyatral edimleri küçümseme yaklaşımı-kime göre boş?hangi anlamda?- edebi çalışmaları edimselliğe ve performansa yöneltmesine rağmen, dramatic tiyatronun tuhaf boşluğunu savunur. A more sophisticated understanding of how performativity operates in the theater would make it difficult to see drama and theater as ineluctably authoritarian, dependent on the reproduction (rather than the decentering, the remaking as performance) of texts. Performans çalışmaları, non-tiyatro, nonscripted, tören ve günlük yaşam nondramatic performansları bir canlı hesap geliştirdi, metinlerin makamdan ayrılmak için görünür performansları.Can the conceptual tools of performance studies and performance theory be used to expand the ways of talking about dramatic performance that do not persistently ground it in textual meanings, the reencoding in action of essentially textual messages, the authority of the script, the text?

Ill

What are dramatic performances performances ofl One of the most disabling aspects of performance criticism of drama is the way it tends—or until recently has tended—to regard the performance as a reading, interpretation, realization o/the text (or, much the same thing, o/the play or its potentialities or, for example, of Shakespeare). Drama performansı eleştiri en devre dışı yönlerinden biri dramatik performanslarıperformansları nedir bu eğilimi yoludur -veya son eğilimi kadarmetin gerçekleştirilmesi(yada çok aynı şey bir okuma, yorumlama gibi performans nazara, Shakespeare’inörneğin oyun veya onun potansiyeli). To say that a performance is of a text is immediately to recognize that its relation to that text is extremely tenuous: a performance is not usually of one text in any direct sense, since a number of different versions of a classic play might be consulted as part of the production process and many scripts are produced and used in the process of shaping a play. Bir performans bir metin olduğunu söylemek için bu metin ile olan ilişkisi son derece ince olduğunu kabul etmek hemen: bir klasik oyun farklı sürümlerini bir dizi olarak danışılmalıdır belki bu yana performans, doğrudan herhangi bir anlamda bir metin genellikle yok üretim süreci ve birçok komut bir parçası üretilen ve bir oyun şekillendirme sürecinde kullandı. In contemporary textual scholarship, the widespread interrogation of how texts constitute authority would make such a claim similarly problematic (see McGann; Born-stein and Williams; Shillingsburg; Grigely; Masten). The text is absorbed into the multifarious verbal and nonverbal discourses of theatrical production, transformed into an entirely incommensurable thing, an event. Texts in the theater are always more like the phone book than like Hamlet: they are transformed by the performative environment of the theater into something else, a performance. Metin tamamen ölçüsüz şey, bir olay haline tiyatro üretim yönlü sözel ve sözel olmayan söylemler içine emilir. One function of conventional theater is to assert the rhetoric of of an assertion that is bound up in conventions of performance rather than in an essential relation between texts and enactments. Sahnenin aktarımsal uygulamaları-oyun tarzları, yönetim kuralları, skenografi-metinler üzerinde işlev kazanır ve onları performans ve davranış ile edimsel güce çevirir.

The problem of dramatic theater's citationality is a complex one, and many dramatic performances (hose-and-doublet Shakespeare) are inscribed with authorizing gestures: they use acting, costume, direction, the entire mise-en-scene to claim an authority located in a certain understanding of a text, a genre, a performance tradition, a mystified author. Dramatik tiyatro citationality sorunu ve karmaşık bir tanesidir çok dramatik performansları (hortum-ve eş  Shakespeare) jestleri yetkisi ile yazılıdır: Onlar belirli bir anlayış içinde yeralan bir yetki talebinde, kostüm, yön, tüm miseenscene etkili kullanımı Bir metin, bir tür, bir performans geleneği, şaşırtan yazar. Performances do not signify by citing texts. A performance creates a sense of "proximity" (to the text, to something else) as part of its rhetorical deployment of contemporary conventions of performance, as a way of claiming "something we value."8 As rhetoric, such gestures are hardly confined to dramatic performance. Sahnenin aktarımsal uygulamaları-oyun tarzları, yönetim kuralları, skenografi-metinler üzerinde işlev kazanır ve onları performans ve davranış ile edimsel güce çevirir. Theatrical production— which recasts and so re-creates the script in another idiom, as speech, gesture, or action that is entirely incommensurable with notions of the text itself—should not be seen as distinctively preoccupied with questions of authority. Such a view ignores the discourse of

authentication surrounding a variety of performance and performance-art forms, not only the work of monologuists like Spalding Gray and Karen Finley, but also that of Anna Deavere Smith—whose elaborately depersonalized miming of her interview subjects may recall James Clifford's critique of "Geertz's abrupt disappearance into his rapport" (40-41)—or performances that appear to cite a personal relation to the subject matter (Annie Sprinkle comes to mind). Performans çalışmaları, non-tiyatro, nonscripted, tören ve günlük yaşam nondramatic performansları bir canlı hesap geliştirdi, metinlerin makamdan ayrılmak için görünür performansları.In all these cases, performance is performative in Butler's sense, working as a "ritualized practice" that "draws on and covers over the constitutive conventions by which it is mobilized" {Excitable Speech 51); sometimes those conventions summon an illusory textual authority, sometimes they do not.How can dramatic performance be conceived not as the performance of the text but as an act of iteration, an utterance, a surrogate standing in those positions, uses, signifies the text within the citational practices of performance? Dramatik performans nasıl metin performansı olarak değil de aktarımsal uygulamalarla metne göndermeler yapan sözce, yineleme ve yerine kullanımlar olarak algılanabilir? I am not thinking here of the long tradition (dating to the 1920s) of setting classic plays in modern dress or in alternative "historical" settings. Ben burada (1920lere uzanan) geleneksel klasik oyunları, modern kostümler içinde ya da alternatif “tarihsel” kurguda sergilemekten bahsetmiyorum. Nor am I thinking of experimental productions like the Performance Group's Dionysus in 69, a landmark participatory, "environmental" production nonetheless deeply governed by Euripides's The Bacchae. Instead, I have in mind productions that resituate the production of the text in the performance in unconventional ways— through speech, gesture, physical enactment—and thus resignify the authority conventionally ascribed to the text. In Robert Wilson's production of Ibsen's When We Dead Awaken, for instance, the performers' stiff gestures and operatically unrealistic speech patterns prevented the assimilation of the words to a sense of psychologically motivated character, usually viewed as a sign of fidelity to Ibsen onstage. Robert Wilson’ın Ibsen'nın When We Dead Awaken değerlendirmesinde Performans çalışmaları, non-tiyatro, nonscripted, tören ve günlük yaşam nondramatic performansları bir canlı hesap geliştirdi, metinlerin makamdan ayrılmak için görünür performansları.One of the most powerful stage performances I have seen recently, Going, Going, Gone, a work "[conceived and [directed" by Anne Bogart and "[cheated and [p]erformed" by the Saratoga International Theater Institute company, also uses performance to interrogate textual functioning and exemplifies one version of performance-sensitive research. Ben Gone Going Going, son zamanlarda gördüğüm en güçlü sahne performansları biri,bir iş "gebe [ve yönetmenliğini [" Anne Bogart tarafından Saratoga Uluslararası TiyatroEnstitüsü şirketi tarafından "[aldattım ve [p erformed]" da kullanır performans metinişleyen sorgulanmasına ve performans duyarlı araştırma bir sürümüdür örneğidir.The cast consists of an older and a younger couple whose ages, gestures, costumes, and behavior evoke the action of Edward Albee's Who's Afraid of Virginia Woolf? The stage set and physical enactment reiterate Albee's Walpurgisnacht, or at least Richard Burton's and Elizabeth Taylor's performances; the actors' intonations, posture, and movement enact discussion, argument, seduction, "get the guests," surrogating the behavorial regimes of Who's Afraid of Virginia Woolf? In place of Albee's dialogue, the actors speak fragments drawn from a range of scientific (Stephen Hawking) and nonscientific (T. S. Eliot, William Blake) texts, a pastiche of Newtonian, quantum mechanical, and literary utterances about the physical world in its gross, subatomic, and poetic manifestations. Fakat yeni yeni gelişen performans çalışmaları dramatic metinler ile performans arasındaki ilişkiyi tam olarak açıklayamamaktadır As the director Tina Landau remarks, in Bogart's work "the movement has been freed from the text so that each is informed by and related to the other without it being the same as the other" (25). The meaning of Going, Going, Gone cannot be ascribed to the text; the performance cannot be understood—as productions of Shakespeare or Ibsen or Beckett usually are—as a realization, translation, interpretation, or citation of (potentialities latent in) the text. But while Going, Going, Gone might appear to be a special case, it is in fact the normative case of dramatic performance. Much as "I do" gains its force from the citational behaviors within which it is performed, so too the dramatic text of more conventional plays gains its force in performance from the behaviors that constitute it as meaningful. Giderken Ama gitmek, özel bir durum olarak görünebilir Gone, aslında dramatikperformans normatif birdurumdur. İçinde daha geleneksel çalış kazanımların çok dadramatik metin, yapılır citational davranışlardan kazançlar gücünü "Evet" Much olarakanlamlı onuoluşturan davranışlar performans yılında yürürlüğe girmiştir.This interrogation of the working of texts relative to performances is not merely the province of performance studies or of avant-garde theater; it is the work—often only the implicit

workofdramaticperformance.Metinlerin çalışma performanslarının göreli Bu sorgulama sadece performansçalışmaları yada avantgarde tiyatronun il değil, iş genellikle sadece örtük iş dramatik performans.Indeed, it impels the action of Baz Luhrmann's widely distributed film William Shake-speare 's Romeo and Juliet. To be sure, as a film, Luhrmann's work engages in a mode of surrogation unlike that of theatrical performance. As a performance, it is preoccupied less with the theatrical than with televisual citation, with the self-conscious address to an MTV audience embodied in its urban setting, quick cuts, visual saturation, and pop-music sound track. Gerçektende, yaygın film William Shakespeare'in Romeo ve Juliet dağıtılan Baz Luhrmann eylem geçirdiği. Emin olmak için, bir film gibi, Luhrmann çalışmaları surrogation bir modda oturup tiyatro performansının aksine. Performans olarak, kendi kentsel ortamda, hızlı keser, görsel doygunluk ve popmüzik  sound track somutlaşan bir MTV izleyiciye bilinçli adresi, televizyon kanallarının alıntı ile daha tiyatro ile daha az meşgul olduğunu. This dimension is also signaled in the opening and closing moments of the film, in which a newscaster on a television screen speaks the prologue and epilogue, and by the superposition of credits over the initial appearances of the major characters: "Fulgensio Capulet as Juliet's Father" and so on. Shakespeare's language performs in and so is constituted by such citations: MTV; the made-for-TV acting styles of Claire Danes and Leonardo DiCaprio; the span of film history that in the opening scene alone encompasses 1950s westerns and gangsta films like Boyz N the Hood; the voguing (reminiscent of both Madonna's video and Jennie Livingston's film Paris Is Burning) that sustains Mercutio's Queen Mab scene and that lends Mercu-tio's entire performance meaningful specificity as performance. Timothy Murray haklı ve neşeli hissediyorum bir surrogation olarak televizyon filmin alıntı görüyor olsada Shakespeare'in tiyatro (2) en kritik "hangi söylem ve bakış açısı Rönesans sahne oyuncu motorları vardı ironi ve abartılı bir istikrarsızlaştırmamekanizması olarak"Filmin resepsiyon bu "etki" ve Shakespeare'in metin içindeki olasıneden ilişkisi üzerine odaklanır, sadece performans citational doku dikkat geçen ödedi.Although Timothy Murray rightly sees the film's citation of television as a surrogation of the playful feel of Shakespeare's theater—"as the destabilizing mechanism of irony and hyperbole for which rhetoric and perspective were the playful engines on the Renaissance stage" (2)—most critical reception of the film has paid only passing attention to the citational texture of the performance, focusing instead on the relation between these "effects" and their putative cause in Shakespeare's text. While Stanley Kauffmann, for instance, recognizes the film's implication in music video ("One visual cascade after another, one sound blast—mostly of rock—after another" [40]), he regards the performance's success or failure as a function of how well it reproduces the text. Stanley Kauffmann iken, örneğin, müzik video filmin dolaylı tanır ("Birbiri ardına görsel çağlayan, bir ses patlama-çoğunlukla kaya sonra başkabir" [40]), o bir fonksiyonu olarak performans başarısı veya başarısızlığı açısından nasıl iyi metin üretir. Though finally preferring Luhrmann's approach to Trevor Nunn's "fiddling" with decor in Twelfth Night, Kauffmann sees Luhr-mann as "in effect doing a translation, almost as if he had rendered the text into Finnish or Bulgarian, with a few English wisps remaining as souvenirs of the origin" (42).

How does William Shakespeare's Romeo and Juliet represent the relation between texts and performances? The film's engagement with the dynamics of surrogation begins with its title. Nasıl William Shakespeare'in Romeove Juliet metinleri ve performansları arasındakiilişkiyi temsil ediyor? Surrogation dinamikleri ile filmin nişan başlığı ile başlar. The title I have used above, in accordance with MLA style for regularizing titles—Shakespeare's title, so to speak— never appears in the film: Romeo and Juliet. The film's copyright title replaces the and with <&, and the title shown in the opening and closing title sequences of the film, as well as in advertising and promotional material, frames that & within a large red cross (when it does not do away with the & altogether): Romeo + Juliet. Evoking, recalling, yet replacing the canonical title of Shakespeare's play, the film is preoccupied with the questions I have raised here, questions that apply to any dramatic performance: How does performance interrogate the text? Ama Shakespeare'in oyun kanonik başlık yerine hatırlatarak, film buradaartırdı soruları ile meşgul olan, herhangibir dramatik performans için geçerli sorular:Nasıl yok performans sorguya metin? How does it mark its relation to, its surrogation (and so its constitution) of, the text? Despite the film's effort to distance itself from—indeed, often to repudiate—the text, in its self-conscious engagement with a Shakespearean "origin" it seems in various ways to inspect the place of Shakespeare and Shakespearean texts in contemporary culture, to memorialize and reenact ideas about Shakespearean authority in performance, and to reflect on the relation among text,

performance, and citation. The texture of Luhrmann's film is replete with visual allusions to, citations of, and stagings of the text. Luhrmann's filmin dokusuna görsel imalarla olan alıntılar ve metin sahnelemeleri ile doludur. The film's dense, vivid palette, its florid Catholicism, and its hyped-up gang culture resonate against the baroque complexity of Shakespeare's language, the local jargon, while at the same time marking the performance's distance from the classical sounds of "Shakespearean" acting. More to the point, many words of the text are represented visually, as words, often as labels. For example, the "swords" that Tybalt and Benvolio refer to in act 1, scene 1 are elaborate, jeweled pistols inlaid with religious icons; when Benvolio cries, "Put up your swords" (1.1.65), the camera work focuses on his pistol and—more important—on the manufacturer's label engraved on the barrel: Sword 9mm Series 5. When Capulet calls for his "long sword" (1.1.75), he reaches above the door of the limo in which he is riding for an automatic rifle labeled Longsword. Örneğin, "kılıç" Tybalt ve Benvolio sahne 1 dini simgeleri kakma ayrıntılı, mücevherlitabanca vardır, hareket 1'de atıfta; Benvolio "Kılıçlarınızı koy", bağırır (1.1.65), kameraçalışması odaklanır onun tabanca ve-daha önemlisi-varil üzerine kazınmış üreticinin etikette: Kılıç  9mm Serisi 5. Capulet onun "uzun kılıç" (1.1.75) için aradığında, hangi o Longsword etiketli bir otomatik tüfek için biniyor limuzinin kapısı üzerinde ulaşır. Luhrmann's film is full of such texts— gags, perhaps: the Post Haste mailing company that Friar Lawrence uses to contact Romeo in Mantua; the Grove of Sycamore, an abandoned movie theater by the beach where Romeo lurks at the play's opening. In fact, the visual texture of the film is replete with allusions that extend beyond the lines of Shakespeare's play to the texture of Shakespeare the author and cultural icon: the Montague boys' taunting nuns with the line "bubble, bubble, toil and trouble" in the opening scene; the Globe Theatre pool hall where Romeo hangs out; a sign for "The Merchant of Verona Beach"; the billboard slogan "I am thy Pistol and thy Friend" (2 Henry IV 5.3.93); "Prospero" scrawled on a fence; perhaps even Lady Capulet's Elizabeth-Taylor-as-Cleopatra costume for the ball.

Citing the text—the verbal text of the play, the cultural text of Shakespeare—Luhrmann's film undertakes a shrewd reflection of the relation between classic texts and their performances, presenting this version of Shakespeare's work not as a performance of the text and not as a translation of the work but as an iteration of the work, an iteration that necessarily invokes and displaces a textual "origin" by performing the text in a specific citational environment—the verbal, visual, gestural, and behavioral dynamics of youth culture, of MTV. Oyunun metin sözlü metni gerekçe göstererek, Shakespeare-Luhrmann filmi kültürel metin, metin bir performans olarak değil, Shakespeare'in çalışma bu sürümünü sunmak, klasik metinler ve performansları arasındaki ilişkinin kurnaz bir yansıması dertakes ve işin bir çeviri olarak değil işin bir iterasyon, mutlaka çağırır ve gençlerin belirli bir citational çevre, görsel, gestural, sözel ve davranışsal dinamikleri metin gerçekleştirerek bir metin "köken" yerinden bir yineleme olarak kültür, MTV. The text inserted into Luhrmann's film fails to transform the images into Shakespearean properties: like the word sword and the pistol it labels, text and image stand in a dialectical relation of difference. Romeo "-/-" Juliet cites the text of Romeo and Juliet, of Shakespeare, only to dramatize that performances never cite texts. Fark diyalektik bir ilişki içinde kelime kılıç ve etiket tabanca, metin ve görüntü stand gibi:Luhrmann filmi takılı metin Shakespeare özellikleri içine görüntüleri dönüştürmek içinbaşarısızolur. Romeo ve Juliet, sadece gösteri asla metinleri alıntı olduğunu dramatize, Romeo ve Juliet, Shakespeare'in metnini değinir.

Writing the script into the visual texture of the performance, Luhrmann lands a palpable hit at the practice of performance analysis and at the disciplinary framing of drama and performance studies. The film dramatizes the limitations of conventional notions of dramatic performance; literalizing the text in performance, it shows that the text cannot be staged as performance.Performans görsel doku içine script yazma, Luhrmann toprakları performans analizipratik ve drama ve performans çalışmaları disiplin çerçeveleme bir palpabl çarptı. Filmindramatik performans geleneksel anlayışların sınırlamalar dramatizes; performans metinliteralizing, bu metin performans olarak sahnelenen olamayacağını gösteriyor. The drama can be pro-duced within a web of citation—be it MTV, modern realism, the post-Brechtian-quasi-Method compromise of most Shakespeare today, the authentic reconstructed woolens of the new Globe—and it can be performed only by or as its surrogates. The surrogation of the drama, the performing of the text within the regimes of contemporary behavior, is not a betrayal of the play; it marks the ways—as Luhrmann's film demonstrates—that dramatic performance, far

from being authorized by its script, produces the terms of its authorization in performance, raising (as all acts of citation, reiteration, and surrogation do) these terms for inspection at the moment it acts to conceal them. Drama, çağdaş davranış rejimleri içinde metin yerine, bir surrogation oyun bir ihanetdeğil, işaretleri yolları-Luhrmann filmi, bugüne kadar kendi komut dosyası tarafındanyetkili olmanın-ki dramatik performans gösterdiğigibi üretir yükselterek performansyılında izin, bakımından (as alıntı, yineleme tüm eylemleri ve surrogation yapmak) onlarıgizlemeye çalışır anda muayene için bu şart. As a surrogate, the film memorializes a past (that it partly invents) and constitutes a new work. Romeo "-/-" Juliet makes visible what most performances work to conceal: that dramatic performance, like all other performance, far from originating in the text, can only cite its textual "origins" with an additive gesture, a kind of "+." Bir vekil olarak, film (kısmen icat olduğunuz) geçmiş anılar  ve yeni çalışma oluşturmaktadır. Romeo Juliet "-/-" en iyi performanslarından gizlemeye çalışmak ne görünür kılar: Yalnızca bir katkı jest ile metinsel "kökeni" alıntı olabilir, çok metin menşeli tüm diğer performans gibi, bu dramatik performans bir türlü "+".

Notes

Earlier versions of this essay were discussed in a seminar at the 1997 Shakespeare Association annual conference and by the Performance Analysis working group of the International Federation for Theatre Research; I am grateful to both groups for their comments. I am especially grateful to Shannon Steen for her detailed response and to Barbara Hodgdon for her comments on an earlier draft and for providing me with a copy of her essay before its publication.1 From E. K. Chambers through G. E. Bentley (Dramatist and Player) to Andrew Gurr (Playgoing and Shakespearean

Stage), Louis Montrose, Jean Howard, Stephen Orgel, and others, Shakespeare studies has long been occupied with interpreting the material, economic, professional, and ideological workings of Shakespeare's theater. This tradition has coexisted—sometimes uneasily—alongside efforts to understand Shakespeare through the medium of performance. For an overview of performance criticism of Shakespeare, see Thompson and Thompson; for a critique, see Bulman, Shakespeare, Theory, and Performance and "On Being Unfaithful." The Applause Shakespeare Library has recently enshrined the notion that the text contains all potential (legitimate) performances. Each volume in the series offers "a continuous commentary on the text" by an actor or director that "shows what is demanded from actors—line by line where necessary—and points out what decisions about interpretation have to be made" (Brown vi). For a brilliant reading of the politics of embodiment in Shakespearean film and stage performance, see Hodgdon.

2 Performance studies owes much of its institutional formation to Richard Schechner, who in 1980 founded the department of performance studies at New York University, having moved there from Tulane University in 1967, and who rechristened the Drama Review (which he brought to New York from New Orleans) TDR: The Drama Review: The Journal of Performance Studies in 1988. Schechner's extensive career in the theater, especially his experimental work with the Performance Group in the 1960s and 1970s, has consistently involved the interplay among dramatic, nontheatrical, and ritual performance. This relation is also central to his fertile collaboration with the anthropologist Victor Turner, which culminated in Turner's influential book From Ritual to Theatre (1982) and to Schechner's impor-tant essays on theatrical and nontheatrical enactment and on the intersections of theatrical and social performance (see "Collective Reflexivity" and Performance Theory; see also Roach, "Kinship" 218-20). Recently, Schechner has modified this "string quartet" position (see "Theatre in the Twenty-First Century").

3 In an earlier article, "Queer Performativity," Sedgwick similarly undertakes to leverage the performative away from "the notion of a performance in the defining instance theatrical" (2) and to develop this sense of performativity through a reading of Henry James's The Art of the Novel.

4 Like the theater, "the performative has thus been from its inception already infected with queerness" (Parker and Sedgwick 5), inspiring a conventional strain of antitheatrical prejudice as well (see Barish).

5 Indeed, as Judith Butler suggests, the citation of legal precedents appears (even more than dramatic theater) to ground the meaning of a particular act in a prior text, while it in fact determines the force of that text in the moment of the judge's performance, the act of citation: "it is through the citation of the law that the figure of the judge's 'will' is produced and that the 'priority' of textual authority is established" ("Critically Queer" 17).

6 For useful recent overviews of Geertz, see G. E. Marcus; Sewell.7 Despite Conquergood's delicacy, it has become commonplace to associate an opposition to writing both with the uses

of performance by marginalized or dominated groups and with the practice of performance studies as an academic discipline. As Conquergood remarked in his opening address to the 1995 Performance Studies Conference, "Performance studies is a border discipline, an interdiscipline, that cultivates the capacity to move between structures, to forge connections, to see together, to speak with instead of simply speaking about or for others. Performance privileges threshold-crossing, shape-shifting, and boundary-violating figures, such as shamans, tricksters, and jokers, who value the carnivalesque over the canonical, the transformative over the normative, the mobile over the monument '"Caravans" 137-38). This sense of the oppositionality of performance studies is certainly open to question (see Auslander)—how useful is it to have tricksters as colleagues, and what is it that their tactics are resisting?—as is the sense that performance is always about a liberating, carnivalesque, or even socially progressive transgression. Conquergood's sense that performance's affiliations with rhetoric locate performance studies as "the new frontier

for staking joint claims to poetics and persuasion, pleasure and power, in the interests of community and critique, solidarity and resistance" ("Ethnography, Rhetoric" 80) might be set alongside George E. Marcus's reading of Douglas Holmes's fieldwork among the European far right and of his sense of that group's exploitation of "illicit discourse" (102-03). On performance studies' "foundational" opposition to texts, ■ Worthen, "Disciplin ' Dolan, Response; Roach, Response; Schechner, Response; Zarrilli, Response; see Roach, "Economies," and Dolan, "Geographies."

8 I am adapting Gary Taylor's sense of editorial practice as a science of proximity here, the sense that an edited text asserts its authority by claiming to be "[p]roximate to something we value," a value that is articulated by the form and content of the edition itself ("Renaissance" 129). On editorial and performance theory, see Worthen, Shakespeare 1-43.

9 "Texts may obscure what performance tends to reveal: memory challenges history in the construction of circum-Atlantic cultures, and it revises the yet unwritten epic of their fabulous cocreation" (Cities 286).

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