Explores the issue of borders and border crossing in the era of globalization and transnationalism, analyzing how the nation-state system regulates movements of people.
Part of the Study Room Guide on Live Art and Displacement (P3107).
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.
Highlighting mothers’ lived experiences, this collection examines mothers’ creativity and agency as they perform in everyday life: in mothering, in activism, and in the arts.
Part of Live Art and Motherhood: A Study Room Guide on Live Art and the Maternal (P3025).
Now in paperback and with a new preface by Susan Bennett, the book explores an interdisciplinary range of topics, including: theatre and urban policy development; architecture, trauma, and memory; urban performance history; site-specific performance and urban politics; sexuality and nationality in urban performance; and environmental performance theory.
Learn to think, see and live like an artist with this inspirational and practical guide on how to live a creative life written by the world’s most thought-provoking artists.
Charting the rise of the immersive theatre phenomenon, this is the first survey of immersive theories and practices for students, scholars and practitioners of contemporary performance. It includes interviews with immersive artists and examines key topics such as site-specific performance and immersive technologies.
This book presents a theory of audience participation in the theatre, based on the importance of the moment of invitation and how an event changes character when such an invitation is made.
Tracing a dynamic genealogy of performance from the nineteenth to the twenty-first century, Uri McMillan contends that black women artists practiced a purposeful self- objectification, transforming themselves into art objects.
Taking Dublin and Chicago as two contemporary urban sites for exploration, The MA in Socially Engaged Art (Further, Adult and Community Education) at the National College of Art and Design (Dublin) have partnered with Stockyard Institute (Chicago) to explore the physical, geographic and social fabric of the two cities.