Examines the embodiment of pain in Máiréad Delaney’s performance.
Part of The Library of Performing Rights (P3041).
Examines how artists have combined performance and moving image in their work since the 1960s, and how this work anticipates our changing relations to images since the advent of smart phones and the spread of online prosumerism.
Illuminates the shift in approaches to the uses of theatre and performance technology in the past twenty-five years and develops an account of new media dramaturgy (NMD), an approach to theatre informed by what the technology itself seems to want to say.
Takes performance studies in exciting new directions, exploring the ways in which ethics can be used to understand the complex questions facing contemporary spectators.
Part of Library of Performing Rights (P3041)
Berlin is once more capital of queer arts and tourism. Queerness is more visible today than it has been for decades, but at what cost? This book argues that queer subjects have become a lovely sight only through being cast in the shadow of the new folk devil, the ‘homophobic migrant’ who is rendered by society as hateful, homophobic and disposable.
Part of the Library of Performing Rights (P3041)
A collection of 14 essays by international scholars and practitioners from across the disciplines of Philosophy, Literature and Theatre and Performance Studies, addressing the nature of the relationship between philosophy and performance.
Illuminates the relationship between philosophy and experimental choreographic practice today in the works of leading European choreographers.
Combining philosophy and aesthetics, this is a unique exploration of creative practice as a form of thinking.
The first scholarly book to focus exclusively on theatre and learning disability as theatre, rather than advocacy or therapy.
Part of the Library of Performing Rights (LPR) (P3041).
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.
Key member of the Italian Autonomist movement and a close associate of Félix Guattari argues that the Marxist/Hegelian concept of alienation and the communal bonds arising from the collective experience of the workforce are under erosion in today’s technological society,
Introducing the idea of performance as a shared transformative experience, this engaging book will help you make sense of the performer/audience interaction in a landscape where boundaries are collapsing.
Examines the surge of queer performance produced across Ireland since the first stirrings of the Celtic Tiger in the mid-1990s, up to the passing of the Marriage Equality referendum in the Republic in 2015.
Citing Howells’ permissive mantra as its title, the book includes new writing from leading scholars and artists, as well as writing by Howells himself, an extensive interview, scores, and visual materials, which together offer new insight into the artist’s ground-breaking process.
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.
Starting from the premise that live performance is experienced in a material, local context, the chapters analyse the intricate and complex workings of queer dramaturgy within specific venues, cities, nations or transnationally.
Explores how artists engaged with the sonic conditions of modernity through dramatic form, characterization, staging, technology, performance style, and other forms of interaction.
Does immersive theatre model a particular kind of politics, or a particular kind of audience? What’s involved in the production and consumption of immersive theatre aesthetics? Is a productive audience always an empowered audience? And do the terms of an audience’s empowerment stand up to political scrutiny?
This collection of essays sheds new light on the political, ethical and aesthetic potential of participatory artworks and tests the very latest theoretical approaches to this subject.
The first comprehensive account of the complex relations between legal process and performances. Through ten major principles of performance within law, it establishes how law itself is a performative mode of practice and reflects upon the co-dependence of law, performance and politics in celebrated works of theatre.
Walsh argues that there are many links between theatre and therapy when considering actor training, theatre in therapeutic contexts, and contemporary theatre and performance.
Theoretical and creative interventions into the presence of the animal and ideas of animality in performance.
Written part of a doctoral dissertation, presenting the artistic works (performances, live-art projects and works on video ) and setting them in a larger context. The research presents the transformation that has taken place starting from the industrialism and modernism.
Includes DVD. Catalogue for a conference in Vercelli and Turin in November 2010, Affective Archives. The catalogue gathers project documents, manifestos and contracts, open calls, addresses to the speakers and self-reflective essays, besides all the abstracts of papers and a selection of images gleaned from the spectatorial documentation that was specifically encouraged.
Trashing Performance Talks. Under- and Overwhelmed: Emotion and Performance (Part 1)- the second year of Performance Matters – 25-29th October 2011.
Part of Berlant’s groundbreaking “national sentimentality” project charting the emergence of the U.S. political sphere as an affective space of attachment and identification.
Part of Palgrave Mcmillan’s ‘small books on theatre and everything else’ series, co-edited by Jen Harvie and Dan Rebellato.
Performance Matters Performing Idea Dialogues,Toynbee Studios 04.10.10:Choreographer Jonathan Burrows and writer and curator Adrian Heathfield have developed a dialogue around the relationship between writing and dancing. They were interested in exploring the creative tension between the distinctive affects of embodied actions and spoken words, investigating their different roles in the making and receiving of meaning. They were fascinated by those moments of intensity – unforgettable yet unspeakable – where something of life is disclosed between sense and sensibility. What are the relative weights of gestures and words in a performance space? How can each open to the other? What place does music occupy in a negotiation between muted movements and sonorous words? What might be some principles of composition for a generative relation between creative writing and choreography?