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Theatre History Studies 2008: Volume 28 by Theatre History Studies, Rhona Justice-Malloy, Visit

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By Theatre History Studies, Rhona Justice-Malloy, Visit Amazon's Scott R. Irelan Page, search results, Learn about Author Central, Scott R. Irelan, , Jackson R. Bryer, John C. Hall, William W. Demastes, Noreen Barnes-Mclain, Judith E Barlow, Anne Fletcher, H

Theatre background experiences is a peer-reviewed magazine of theatre background and scholarship released every year on account that 1981 through the Mid-American Theatre convention (MATC), a nearby physique dedicated to theatre scholarship and perform. The convention encompasses the states of Illinois, Iowa, Nebraska, Kansas, Missouri, Minnesota, North Dakota, South Dakota, Wisconsin, Indiana, Michigan, and Ohio. the aim of the convention is to unite people and businesses in the area with an curiosity in theatre and to advertise the expansion and improvement of all different types of theatre.

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1 (2001): 66, quoted in Steedman, Dust, 5. Steedman, Dust, 6. Michel Foucault, “Lives of Infamous Men,” in The Essential Foucault: Selections from Essential Works of Foucault, 1954–1984 (New York: The New Press, 2003), 279–80. Derek Sayer, Capitalism and Modernity: An Excursus on Marx and Weber (London: Routledge, 1991), 79–80. { 26 } You are reading copyrighted material published by the University of Alabama Press. S. Copyright law is illegal and injures the author and publisher. For permission to reuse this work, contact the University of Alabama Press.

S. Copyright law is illegal and injures the author and publisher. For permission to reuse this work, contact the University of Alabama Press. E L I N DI A MON D Theatre historians and scholars who use the archive often take performance to the archive. But it is interesting that, at this theory-dead moment, when performance and literature scholars—professors and graduate students alike—know that work in the archives hikes the value of their research, the historians, who as a group have long claimed the archive as their badge of legitimation, their proudly worn letter “A,” now view their beloved cobwebby archives as a vexing force field or, as Carolyn Steedman writes, an “oneiric space .

Performance in the Archives —E L I N DI AMOND On Christmas Eve in 2001, New York City’s outgoing mayor, Rudolph Giuliani, signed an agreement with city authorities that allowed him unprecedented control over his public records. Giuliani convinced the commissioner of Records and Information Services to allow him to box up his mayoral papers and transfer them to “The Fortress,” a high-security storage facility in Queens. 1 Among those who protested the mayor’s action was the Society of American Archivists, the oldest and largest professional organization of archivists in North America.

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