Examines the embodiment of pain in Máiréad Delaney’s performance.
Part of The Library of Performing Rights (P3041).
What is the role of pleasure and pain in the politics of art? Polgovsky Ezcurra approaches this question as she examines the flourishing of live and intermedial performance in Latin America during times of authoritarianism and its significance during transitions to democracy.
Part of the Library of Performing Rights (P3041).
Considering how blackness is imagined in and through performance, the contributors address topics including flight as a persistent theme in African American aesthetics, the circulation of minstrel tropes in Liverpool and in Afro-Mexican settlements in Oaxaca, and the reach of hip-hop politics as people around the world embrace the music and dance.
Part of the Library of Performing Rights (P3041)
The first volume in the trilogy consent not to be a single being engages in a capacious consideration of the place and force of blackness in African diaspora arts, politics, and life.
It examines the 'performance of extremity' as practices at the limits of the histories of performance and art, in performance art's most fertile and prescient decade, the 1970s. Dominic Johnson recounts and analyses game-changing performance events by six artists: Kerry Trengove, Ulay, Genesis P-Orridge, Anne Bean, the Kipper Kids, and Stephen Cripps.
Part of the Library of Performing Rights (P3041)
The author draws on her experience as both a theatre actor and a university professor whose teachings in the art of acting rely heavily on her own experience and also on her philosophical knowledge.
Interview with Jacques Rancière.
Draws upon cognitive and affect theory to examine applications of contemporary performance practices in educational, social and community contexts. The writing is situated in the spaces between making and performance, exploring the processes of creating work defined variously as collaborative, participatory and socially engaged.
The essays in Women, the Arts and Globalization demonstrate that women in the arts are rarely positioned at the centre of the art market, and the movement of women globally (as travelers or migrants, empowered artists/scholars or exiled practitioners), rarely corresponds with the dominant models of global exchange. Rather, contemporary women's art practices provide a fascinating instance of women's eccentric experiences of the myriad effects of globalization.
Despite the problematic politics of cultural exchange in the theatre, interculturalism is not a one-sided process. Using the metaphor of the hourglass to discuss the transfer between source and target culture, Pavis asks what happens when the hourglass is turned upside down, when the `foreign' culture speaks for itself.
Part of the Library of Performing Rights (LPR) (P3041).
This article proposes an expanded understanding of Romeo Castellucci's radical performance work as a genuine theatre of ruins.
Takes as a starting point the premise that art is best understood in dialogue with the social sphere, and examines how the exchange between art, knowledge and use has historically been set up and played out.
An object consisting of two parts: a publication of articles and transcripts which reflect upon the 15 years of discourse that brought dance and choreographic practice and theory together in Dansbaren; and a tablecloth of topics—a tool for continuing dialogues which invites the reader to lay it on the table, welcome others to the table, and put dance and choreography discussions, literally, on the table.
Kaprow's sustained inquiry into the paradoxical relationship of art to life and into the nature of meaning itself is brought into focus in this newly expanded collection of his most significant writings.
Explores how artists engaged with the sonic conditions of modernity through dramatic form, characterization, staging, technology, performance style, and other forms of interaction.
Moving across the boundaries of mainstream and experimental circuits, from the affective pleasures of commercially successful shows such as Calendar Girls and Mamma Mia! to the feminist possibilities of new burlesque and stand-up, this book offers a lucid and accessible account of popular feminisms in contemporary theatre and performance.
The collection concentrates on Kelley's own work, ranging from texts in “voices” that grew out of scripts for performance pieces to expository critical and autobiographical writings.
Siona Wilson investigates the charged relationship of sex and labour politics as it played out in the making of feminist art in 1970s Britain.
Contribution by Jamila Johnson Small for FANON Now – on the legacy of Mirage: Enigmas Of Race, Difference & Desire. The event brought together David A Bailey, artists from the original Mirage project, and artists from subsequent generations, to reflect on the contemporary moment in relation to structural violence, de-colonising culture and relations, and the power of aesthetics and its explorations of complex formations of racial identities.
Contribution by Alexandrina Hemsley for FANON Now – on the legacy of Mirage: Enigmas Of Race, Difference & Desire. The event brought together David A Bailey, artists from the original Mirage project, and artists from subsequent generations, to reflect on the contemporary moment in relation to structural violence, de-colonising culture and relations, and the power of aesthetics and its explorations of complex formations of racial identities.
In association with the Royal College of Art, Exit Strategies situates new generation of artists alongside specially commissioned texts by international novelists, artists, academics and philosophers.
Collection including previously unpublished essays by Smithson and gathers hard-to-find articles, interviews, and photographs, as well as a full picture of his wide-ranging views on art and culture. This item is part of the Study Room Guide to Remoteness (P2600).
Essays on philosophical and aesthetic perspectives on painting, photography, music, architecture, performance and cinema.
Exploration of art from the position of the producer, who does not ask what it looks like or where it comes from, but why it exists in the first place.
This article can be found in the Miscellaneous Articles 3 Binder and can also be found in The cultural Resistance Reader: P1894