Tony Perucci
Associate Professor
Area of Study: Performance and Cultural Studies
Email: perucci@unc.edu
Phone: 962-4945
Office: 143 Bynum Hall
Office Hours: By Appointment
Curriculum Vitae
Website: http://www.tonyperucci.com/
Education
Ph.D., Performance Studies, Tisch School of the Arts, New York University
M.A., Communication Studies, The University of North Carolina at Chapel Hill
B.S., Performance Studies, Northwestern University
Research Interests
Dr. Perucci is a performance studies scholar and artist, whose work focuses on experimentalism in the arts and the aesthetics of political intervention. His writing has appeared in such journals as Performance Research, TDR: The Drama Review, Theatre Journal, Theatre Topics, TPQ: Text and Performance Quarterly. Dr. Perucci is a co-director of the Mary Overlie Legacy Project & Six Viewpoints Institute. His current book on Overlie, On the Horizontal: Mary Overlie and The Six Viewpoints is forthcoming from the University of Michigan Press. Dr. Perucci is currently preparing an annotated 2nd edition of Overlie’s book, Standing in Space: The Six Viewpoints Theory & Practice, as well as his monograph on contemporary art & performance, Reality Frictions: Ruptural Performance and Indecidable Theatre. He is the author of the book Paul Robeson and the Cold War Performance Complex: Race, Madness, Activism (U of Michigan Press, 2012).
Recent Honors
2021-2 Short-term Research Fellowship, New York Public Library
2020 Adobe Course Development Grant, Ctr for Faculty Excellence
2018 Ken Lowe Fund for Faculty Excellence, UNC-CH
2017 University Research Counsel, Research Grant, UNC-CH
2016-17 Mellon Curatorial Fellowship, Carolina Performing Arts
Recent Publications
“The Collisions of Reality Friction: Tactics of Structural Ambiguity in Christoph Schlingensief’s Bitte Liebt Österreich.” Performing Arousal: Precarious Bodies and Frames of Representation. Eds. Yana Meerzon and Julia Listengarten. New York: Bloomsbury Methuen Drama, 2021.
“The Six Viewpoints and the Art of Waiting (to Become Art).” In Affective Movements, Methods &
Pedagogies, eds. Anne Harris and Stacy Holman Jones, New York: Routledge, 2021. 158-72.
“In Memory – Mary Overlie, 1946-2020.” TDR: The Drama Review. 65.1. T249 (2021): 12-14.
“The Actor as Observer-Participant: Mary Overlie, Six Viewpoints, Three Memories.” Performance Research 25.8 (2020): 161-5.
“Mary Overlie and the Secret of the Original Anarchist: The Viewpoints and the Undercommons.” Performance Research 25.8 (2020): 92-101.
“Irritational Aesthetics: Reality Friction and Indecidable Theatre.” Theatre Journal 70.4 (2019): 473-98.
““The New Thing”: Three Axes for Devised Theatre.” Theatre Topics 28.3 (2018): 203-16.
“Sordid Ironies and the Short-Fingered Vulgarian: Alison Jackson’s Mental Images.” TDR: The Drama Review 62.1. T237 (2018): 191-200.
“On Stealing Viewpoints.” Performance Research 22.5 (2017): 113-24.
“The Trump Is Present.” Performance Research 22.3 (2017): 127-35.
“The Poetics of Ruptural Performance.” Culture Jamming: Activism and the Art of Cultural Resistance. Ed. Delaure, Marilyn and Fink, Moritz. New York: New York University Press, 2017. 280-99.