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.
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.
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.
During 2016 Blast Theory and Tony White worked with a group of young people in libraries in Telford and Wrekin to re-imagine libraries, story telling and their place in the world. On 29 October 2016, over the course of 9 hours from 3pm to midnight, the young people took control of their local libraries, and performed live to a worldwide audience. This book is a result of that process.
How did performance artists of the ’60s and ’70s, famous for their opposition both to lasting art and the political establishment, become the foremost monument builders of the ’80s, ’90s and today? This book argues that the centrality of performance to monuments and indeed public art in general rests not on its ephemerality or anti-authoritarian rhetoric, but on its power to build interpersonal bonds both personal and social.
Part of the Study Room Guide on Live Art and Displacement (P3107).
Exploring theater works created for, by, and with refugees, this hybrid collection of essays combines newly commissioned scholarly work with examples of writing by refugees themselves.
Part of the Study Room Guide on Live Art and Displacement (P3107).
In each annual volume, contributors document works made in the previous year. By including performances regardless of their country of origin, genre, aims, or popularity, INDEX reveals the breathtaking variety of practices used in performance work today.
Explores how artists engaged with the sonic conditions of modernity through dramatic form, characterization, staging, technology, performance style, and other forms of interaction.
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 book conceives of traditional dramatic theater as a place for taming the future and then conceptualizes how performance beyond this paradigm might stage the unruly nature of futurity.
A LADA screening programme for the 2016 Venice International Performance Art Week: a collection of documentation and artists’ films looking at pain and performance.
Includes:
Marina Abramovic – On ‘Rhythm O’, 1974, 2013, 3’07” ; Ron Athey – Ron’s Story, 2001, 4’44”; Marcel.Li Antunez Roca – Epizoo, 1994, 8’29; Franko B – Don’t Leave Me This Way, 2009, 5’03”; Wafaa Bilal – On ‘Shoot An Iraqi’, 2007, 2’21”; Rocio Boliver – Times Go By and I Can’t Forget You: Between Menopause and Old Age, 2013, 4’18”; Cassils – The Powers That Be, 2016, 2’24”; Bob Flanagan – Cystic Fibrosis Song, 1990’s 1’32”; Regina Jose Galindo – Lucha, 2002, 3’37”; jamie lewis Hadley – this rose made of leather, 2012, 9’10”; Nicola Hunter & Ernst Fischer – Passion/Flower, 2012, 4’02”; Oleg Kulik – Dog House 1996, 4’10”; Martin O’Brien – Taste of Flesh, 2015, 2’59”; Kira O’Reilly – Wet Cup, 2000, 2’29”; ORLAN – Successful Operation, 1990, 6’16”; Petr Pavlensky – Radical Artist In Court – Ukraine Today News Item, 2015, 1’57”
Artists Katie Etheridge & Simon Persighetti team up with shoppers, traders and market enthusiasts to create a pick and mix selection of ways to navigate and explore the market as trading place, social space and playing space. The Mis-Guide was originally produced for Compass Festival.
A limited edition publication exploring a series of innovative live performances and events.
Documentation from the project by Zoë Gingell and Eve Dent; includes exhibition programme, blog posts, and The Guardian review.
Part of Live Art and Motherhood: A Study Room Guide on Live Art and the Maternal (P3025).
Stills from the performance, which comprised of over 300 images and took place in 2 parts; part one is performed in a photography studio, with the photographer the only spectator.
Part of Live Art and Motherhood: A Study Room Guide on Live Art and the Maternal (P3025).
How are hybrid and diasporic identities performed in increasingly diverse societies? How can we begin to think differently about theatrical flow across cultures?
Lonergan argues that social media is itself a performance space, analysing how it's used by both theatres and audiences and also in connection with each other.
Includes The Wollstonecraft Live Experience! programmes and materials, two programmes for the Stoke Newington Literary Festival, and a list of publications.
Vienna and Linz festival of one-to-one performances, interventions and experimental theatre, taking place inside two city hotels.
An overview of the first 10 years of the VERBO festival, featuring texts by Brazilian and foreign authors.
In Portuguese and English; some text in Spanish.
Includes:
Model Behaviours publication (AFFECT module I); in English; 2014
Mit freundlichen Gruessen exhibition catalogue; in German; 2013
promotional postcards; in English; 2014
Gardens Speak is an interactive sound installation containing the oral histories of ten ordinary people who were buried in Syrian gardens. Each narrative has been carefully constructed with the friends and family members of the deceased to retell their stories as they themselves would have recounted it.
This book contains the narrative text of those ten oral histories in both English and spoken Arabic, as well as an an introduction by the artist, and illustrations of the audience experience in Gardens Speak.
Theoretical and creative interventions into the presence of the animal and ideas of animality in performance.
This book brings to light the historical significance of five women artists – Yoko Ono, Yayoi Kusama, Takako Saito, Mieko Shiomi, and Shigeko Kubota, who were among the first Japanese women to leave their country – and its male-dominated, conservative art world – to explore the artistic possibilities in New York.
An overview of many of the key directors working in European theatre over the past fifty years, situated lucidly in its artistic, cultural and political context. The resulting study is a detailed guide to the generation of directors whose careers were forged and tempered in the changing Europe of the 1980s and 1990s.
In this invitation to reflect on the power of performance, Diana Taylor explores many of the ‘performance’ uses and iterations: artistic, economic, sexual, political, and technological performance; the performance of everyday life; and the gendered, sexed, and racialized performance of bodies. Images and texts interact to show how performance is at once a creative act, a means to comprehend power, a method of transmitting memory and identity, and a way of understanding the world.
What is the quality of participation in contemporary art and performance? Fair Play: Art, Performance and Neoliberalism explores this question through the work of important contemporary artists and organizations including Marcus Coates, Phil Collins, Jeremy Deller, Michael Landy, Grayson Perry, Rachel Whiteread, Lone Twin, Punchdrunk, Tate Modern and the National Theatre.
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.
Drawing on many examples from contemporary performance, this book is a provocative starting point for understanding the surprisingly complex relationship between theatre and the body. Foreword by Marina Abramovic.
A 150 page reader for students and other particularly interested audience members stuffed full of texts, scripts, interviews and concept documents.
The book explores Weaver’s collaborative work with Split Britches and Spiderwoman as well as her solo projects, performance interventions, and work as a facilitator, teacher, and as Tammy WhyNot.
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.
An edited collection of work made between 15th and 25th September 2010 for b-side festival. Drawings by Joff Winterhart ; text and design by Sue Palmer. Includes a CD with the song composed by the piece.
Includes reactions by Good, Megan Vaughan, Costa and Simon Bowes.
Belgian festival director and curator Frie Leysen challenges Australian artists and arts organisations to be bold, and to challenge an increasingly ossified status quo in her closing keynote address at the 2015 Australian Theatre Forum (ATF). Miscellaneous folder #5A.
Artist Sarah Baker talks to Marcia Farquhar about live performance, the visual, fiction and fantasy and meeting Peaches.
In this essay, Tania El Khoury considers performance through the lens of her own practice as a live artist and as a member of Dictaphone Group, a live events project El Khoury started with Abir Saksouk. What emerges is a perspective of a contemporary artist working within the frame of performance, and how one within this frame might define their own practice through experience. In Miscellaneous Articles Folder #4.
10 practitioners from different backgrounds to reflect on the broad themes of participation, audience, criticality and writing in a series of short essays and provocations inspired by their own practice and numerous works in Compass Festival 2014. Contributors include Andy Abbott, Emma Cocker, Patrick Coyle, Victoria Gray, Gillie Kleiman, Annie Lloyd, Gill Park, Harold Offeh, Nathan Walker, Adam Young. A limited edition hard copy.
This exhibition catalogue brings together material from the artist’s private archive: images, texts, diaries and other ephemera that act as points of reference in Abramović’s oeuvre. The publication includes an essay by the exhibition’s curator, Sophie O’ Brien, and also tracks, through diary entries and photographs, Abramović’s journeys in Brazil in 2013, which informed her planning for the exhibition at the Serpentine Gallery.
Written by Simon Casson, producer of Duckie, this is a polemic letter responding to the consultation towards the McMaster Review for James Purnell and the Department of Culture Media and Sport, condemnning the state of art-funding.
Video commisioned for “Documenting Intimacy”, a research initiative piloted by Brian Lobel and Marisa Zanotti to explore documenting one-to-one performance from the perspective of artists.
An exploration of Adrian Howells’s artistic practice of creating work that promotes intimacy and genuine exchange with an audience.
Documentation of workshop presented as part an extensive programme curated by Lois Keidan and Aaron Wright (Live Art Development Agency) entitled “Just Like A Woman”, composed of lectures, performances, readings, installations, screenings, workshops and debates on performance of identity, is fully dedicated to the impact of performance on feminist histories and the contribution of artists to discourses around contemporary gender politics. From the 19th edition of the City of Women (Mesto žensk) festival – 2-13 October 2013, Ljubljana, Slovenia – entitled “Let’s create a place for ourselves” on public space and politics.
FrenchMottershead discuss thir strategy of ‘microperformance’.
Documents from the performances “A Greaât Stitheram” in the Greyfriars, Lincoln, and “Change in Energy = the Work” at Arnolfini.
*currently unavailable*
This publication explores the ethical challenges with which performance art confronts its viewers speak to the reimagining of the audience.
Collected documents from the artist performance programme running throughout Art Licks Weekend 2013 called “Stop, Look, Listen!” – a series of performances held in public spaces across east and south east London taking work to audiences out of the gallery setting.