• Empty stage with black curtains. There is a microphone stand in the middle, at the front.

    itop00.jpg

    Homepage animation. In Terms of Performance, edited by Shannon Jackson and Paula Marincola (Arts Research Center at University of California, Berkeley, and The Pew Center for Arts & Heritage, Philadelphia). www.intermsofperformance.site⁠⁠(opens in a new tab)⁠.

  • White page divided in two. There is a list of words on the left side. On the right, larger black text reads

    itop01a.jpg

    Homepage index. In Terms of Performance, edited by Shannon Jackson and Paula Marincola (Arts Research Center at University of California, Berkeley, and The Pew Center for Arts & Heritage, Philadelphia). www.intermsofperformance.site⁠⁠(opens in a new tab)⁠.

  • White page divided in two. There is a photograph of a person sitting on a chair on the right side. On the left, there is a list with words. Under

    itop01b.jpg

    Mark Russell, “Theatricality” on homepage index. In Terms of Performance, edited by Shannon Jackson and Paula Marincola (Arts Research Center at University of California, Berkeley, and The Pew Center for Arts & Heritage, Philadelphia). www.intermsofperformance.site⁠⁠(opens in a new tab)⁠.

  • Indoor space with wooden floors, a small window and a table. There are 7 blue chairs around the table. Several large bass drums, or bombos, are hanging from the ceiling. There are smaller ones on the table and by the window.

    itop04b-chad-kleitsch.jpg

    Installation view. Allison Smith, Allison Smith: Rudiments of Fife & Drum, 2013, The Aldrich Contemporary Art Museum, Ridgefield, CT. Photo: Chad Kleitsch, courtesy of The Aldrich Contemporary Art Museum.

  • White page divided in two. There is a photograph of a person sitting on a chair on the right side. On the left, there is a list with words like

    itop01c.jpg

    Andrea Fraser, “Act” on homepage index. In Terms of Performance, edited by Shannon Jackson and Paula Marincola (Arts Research Center at University of California, Berkeley, and The Pew Center for Arts & Heritage, Philadelphia). www.intermsofperformance.site⁠⁠(opens in a new tab)⁠.

  • White page divided in two; with an image on the left side and text in black on the right. The image is a scan of a handwritten text with some marks in red.

    itop02a.jpg

    Janine Antoni, “Choreography” in In Terms of Performance, edited by Shannon Jackson and Paula Marincola (Arts Research Center at University of California, Berkeley, and The Pew Center for Arts & Heritage, Philadelphia). www.intermsofperformance.site⁠⁠(opens in a new tab)⁠.

  • Two hands hold a paper with handwritten notes. The person's head is out of focus, but partially visible on the left side of the photograph.

    itop04a-antoni-choreography.jpg

    Janine Antoni, Yours Truly, 2010. Ink on paper, 5 7/8 x 8 1/2”. ©Janine Antoni, courtesy of the artist and Luhring Augustine, New York.

  • White page divided in two.; with a photograph on the left side and text in black on the right. The photograph shows a person opening a curtain to an indoor space. They are wearing headphones and hold a small monitor.

    itop02b.jpg

    Stefan Kaegi, “Reenactment” in In Terms of Performance, edited by Shannon Jackson and Paula Marincola and translated by Megan Hoetger (Arts Research Center at University of California, Berkeley, and The Pew Center for Arts & Heritage, Philadelphia). www.intermsofperformance.site⁠⁠(opens in a new tab)⁠.

  • Black-and-white photograph shows a large group of people walking in the same direction in an open field. There is a large building in the background.

    itop04c-kaegi-reenactment.jpg

    In 1920, under the direction of Nikolai Evreinov, thousands of participants (including Vladimir Lenin and thousands of Red Guards) reenacted the storming of the tsar’s Winter Palace three years earlier, a pivotal moment in the October Revolution. Sergey Eisenstein used footage from the event in his film October: Ten Days that Shook the World (1928).

  • full online anthology 

“In Terms of Performance is designed to generate shared literacies for how we understand the goals, skills, and artistic traditions of experimental interdisciplinary work. Over the past few years we have gathered essays and interviews from key artists, curators, presenters, and scholars whose work reflects on relations among visual art, theatrical, choreographic, and performance art practices. To seed the conversation, we created a list of keywords: common yet contested terms in our current context, when museums are incorporating ever more time-based art forms, theaters are commissioning visual art for their stages, and symposiums try to make sense of how this cross-pollination changes the nature of curating, collecting, producing, authoring, documenting, and commissioning. Some of these keywords are older terms that have been resuscitated and redefined; others have made an appearance only recently. Our goal was not to produce singular definitions nor to commission encyclopedic entries but to share perspectives from distinct locations.”

In Terms of Performance is an online keywords anthology designed to provoke discovery across artistic disciplines. As editorial assistant for the project between 2014 and 2016, Hoetger collaborated with over 25 artists, scholars, and curators involved in the project on first edits of their texts, as well as on translation and citation work.

Published by the Arts Research Center at University of California, Berkeley, and The Pew Center for Arts & Heritage, Philadelphia

Co-editors: Shannon Jackson and Paula Marincola

Managing editor: Peter Nesbett

Consulting editor: Nell McClister

Copy editor: Karen Jacobson

Visual resource coordinator: Emily Elliott

Image and research assistants: Megan Hoetger, Max Margulies

Website design: LeClair Lucas

Principal photographers: Paula Court, Ian Douglas

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double review “Tiresias” and “Incorruptible Flesh”

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