In July 1996 a "bomb threat" in downtown Seattle resulted in the evacuation of buildings in a six-block radius, the rerouting of downtown busses, and ensuing total chaos. The threat turned out to be without substance. Was it art? Or was it terrorism? The artist's action prompted a string of performances, which played out on the stage of law the anxiety over the lack of a clear boundary between the real and the representation.
TDR provides scholarship on performances and their social, economic, and political contexts. With an emphasis on the interdisciplinary, experimental, and avant-garde, the journal covers dance theater, performance art, popular entertainment, media, sports, and rituals in politics and everyday life.
Cambridge University Press (www.cambridge.org) is the publishing division of the University of Cambridge, one of the world’s leading research institutions and winner of 81 Nobel Prizes. Cambridge University Press is committed by its charter to disseminate knowledge as widely as possible across the globe. It publishes over 2,500 books a year for distribution in more than 200 countries. Cambridge Journals publishes over 250 peer-reviewed academic journals across a wide range of subject areas, in print and online. Many of these journals are the leading academic publications in their fields and together they form one of the most valuable and comprehensive bodies of research available today. For more information, visit http://journals.cambridge.org.
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TDR (1988-)
© 2002 The MIT Press