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CIPN - 17 May 2018 - Masks, Face, Performance Identity in the Theatre of Surgery

CIPN - 17 May 2018 - Masks, Face, Performance Identity in the Theatre of Surgery

Released Wednesday, 23rd May 2018
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CIPN - 17 May 2018 - Masks, Face, Performance Identity in the Theatre of Surgery

CIPN - 17 May 2018 - Masks, Face, Performance Identity in the Theatre of Surgery

CIPN - 17 May 2018 - Masks, Face, Performance Identity in the Theatre of Surgery

CIPN - 17 May 2018 - Masks, Face, Performance Identity in the Theatre of Surgery

Wednesday, 23rd May 2018
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Masks, Face, Performance Identity in the Theatre of Surgery and Therapeutic EncounterProfessor Femi Oyebode (University of Birmingham)Dr Jan Parker (University of Cambridge)Emma Barnard (Artist)At a time of a seemingly one-dimensional concept of 'performative identity', a psychiatrist and a medical artist will challenge the performance of self in the theatre of surgery and therapeutic encounter. Emma Barnard - exhibition ‘Primum non Nocere’:An Artist’s Perspective into the World of Medicine - explores patients’ and surgeons’ faces/masks/presentations, Psychiatrist Prof Oyebode discusses the clinician’s multi varied responses to the disjunction between face icon & emotional expression. Together with Dr Jan Parker, Senior Member of the Faculties of Classics and English, and Chair of Arts and Humanities in Higher Education Research, these three interlocutors creatively and critically explore the performances of self in and outside of theatre.
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Performance Network

The Cambridge Interdisciplinary Performance Network brings together people from a wide variety of disciplines in Cambridge and beyond who are engaging with performance as a concept, from music and literary studies to anthropology, architecture and medicine. It asks how these varied interests might relate, intersect and interact.Interest in performance reflects a movement away from thinking in terms of immutable objects and singular subjects. It focuses attention on collective contexts. It also models a different way to mean: so performances, theatricality, theatre, and the arts in practice are relevant, too. But the group’s main focus is on the potential of the idea of performance as an umbrella approach to culture: a 'kind of thinking in its own right' (Cull/Minors 2012).What does it mean to frame, stage, display or enact? In what sense might all forms of self-consciously public statements – art, politics, academic discourse – be seen as performance?How is our post-print digital era, with its forces of equivalence and convergence, prompting reconsideration of traditional categories and boundaries – ie of the disciplinary itself?How do we understand objects (fixed, a record) when they cannot exist separate from their experience on the part of somebody or other (time-bound, embodied)?How do we understand the subject when it depends on imagined and actual collectivities to position itself?Each session will be organized around two short but very different presentations, followed by a discussion. We hope that these discursive encounters might suggest some of the potential benefits of greater dialogue between disciplines, and between the academy and creative practice more generally.

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