If a service economy thrives on the production of affect and the “immaterial labor” associated with the post-industrial condition, in what ways does performance-based work challenge or uphold that condition? Schneider brings this question to recent work in major art museums, such as Tino Sehgal’s Kiss and Marina Abramovic’s The Artist is Present, beside work in theatre such as the Wooster Group’s Poor Theater.
Rebecca Schneider is Chair of the Department of Theatre Arts and Performance Studies at Brown University. She is the author of The Explicit Body in Performance (Routledge 1997) and Performing Remains: Art and War in Times of Theatrical Reenactment (Routledge 2011) as well as numerous essays on performance and visual culture.