Adorno and Performance

Martin Parker Dixon, University of Glasgow, UK Anthony Gritten, Royal Academy of Music, UK Birgit Hofstaetter, University of Brighton, UK Ioana Jucan, Brown University, USA Michal Kobialka, University of Minnesota, USA Julie Kuhlken, Independent Scholar, USA Mattias Martinson, Uppsala University, Sweden Anja Nowak, University of British Columbia, Canada Marcus Quent, University of Leipzig, Germany Stephen Robins, Independent Scholar, UK Andrea Sakoparnig, Free University Berlin, Germany Mischa Twitchin, Goldsmiths College, University of London, UK

1. Introduction: Thinking Adorno and Performance; Will Daddario and Karoline Gritzner 2. Of Adorno's Beckett; Michal Kobialka 3. Thoughts which do not understand themselves: On Adorno's Dream Notes; Karoline Gritzner 4. Performativisation and the Rescue of the Aesthetic Semblance; Andrea Sakoparnig 5. On the 'difference between preaching an ideal and giving artistic form to the historical tension inherent in it'; Mischa Twitchin 6. Cooking Up a Theory of Performing; Anthony Gritten 7. Thinking Performance in Neoliberal Times: Adorno Encounters Neutral Hero; Ioana Jucan 8. Pleasing Shapes and Other Devilry: an Adornian Investigation of La Pocha Nostra Praxis; Stephen Robins 9. Thinking - Mimesis - Pre-Imitation: Notes on Art, Philosophy and Theatre in Adorno's Aesthetic Theory; Marcus Quent 10. On the Theatricality of Art; Anja Nowak 11. Adorno and Performance: Thinking with the Movement of Language; Birgit Hofstaetter 12. What is Adorno Doing? Immanent Critique as Philosophical Performance; Mattias Martinson 13. The Vanity of Happiness: Adorno and Self-Performance; Julie Kuhlken 14. Writing as Life Performed; Martin Parker Dixon Bibliography Index