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.
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.
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.
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.
*currently unavailable*
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.
Explores how artists engaged with the sonic conditions of modernity through dramatic form, characterization, staging, technology, performance style, and other forms of interaction.
Report from the event held on Friday 29 January 2016.
This event gathered an invited group of live art and performance practitioners who are working with/around the maternal in their arts practice. All invited participants were asked to briefly introduce their ‘maternal performance practice’ and reflect on their aesthetics, including their processes and methodologies.
In misc folder 5A.
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.