期刊名称：Liminalities : a Journal of Performance Studies
电子版ISSN：1557-2935
出版年度：2012
卷号：9
期号：4
出版社：Liminalities
摘要：In a recent review of a Los Angeles museum exhibition, Michael Rush asks: “If the essence of performance is an immediacy that by definition disappears once the performance is over, how does an institution, especially one devoted to the presentation of art objects, create a physical encounter with a disappearing act?” (1). Such a question may cause consternation in modern museums that increasingly seek audience interaction. Indeed, Lainie Schultz asserts in “Collaborative Museology and the Visitor” that, “collaboration has become a critical concern for museums in recent decades” (1). Joseph Roach, however, delineates this kind of passive theater and spectatorship from performance to include a wide range of behaviors and “what Michel de Certeau calls ‘the practice of everyday life,’ in which the role of spectator expands into that of participant” (46). This practice of spectator becoming participant has expanded “into an open-ended category marked ‘performative’” and a theory of the performative that is “a cultural factor, critical paradigm, and political intervention” (46). The performative is applied in Della Pollock’s definiton of performative writing as “writing that does something” through its interventions into the routine (75). In the following analysis, The Jewish Museum Berlin, read as a performative text,
