Abstract
Looking at the murder case of Stephen Lawrence, and then at the art object made out of the event—the documentary play, The Colour of Justice—the interpenetration of performance codes and practices with “real life” demonstrates the explanatory power of performance to shape ideas, question truth claims, sway public opinion, and construct an aesthetics that might functions as an epistemology.
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Articles
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© 2006 Massachusetts Institute of Technology
2006
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