Presents a broad range of critical and theoretical methods, and applies them to contemporary and historical performance genres. Revised and Enlarged Edition
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.
Surveys the changes in acting and performance during the crucial transition from the ecstatic theatre of the 1960s to the ironic postmodernism of the 1980s.
The author’s concerns – which include the social meaning of illusion and the cultural manifestation of power – take the reader from Eleanora Duse to Laurie Anderson; from the puppet theatre of Kleist to Kantor’s theatre of the dead; and from the Kutiyattam temple dancers in Kerala to Womanhouse in Los Angeles.
Divided into two parts, `In the World’ and `In the Room’, the book presents a rounded picture of the possibilities of a `disobedient’ culture and includes many games and exercises for creative practitioners.
Illustrates the black political ideas that radicalized the artistic endeavors of musicians, playwrights, and actors beginning in the 1960s.
The first in-depth sourcebook in English on the compant, providing first-hand accounts of the development of its collectivist practices and ideals.
Part of the Library of Performing Rights (LPR) (P3041).
Niebisch retraces how the early Avant-Garde movements started out as parasites inhabiting and irritating the emerging mass media circuits of the press, cinema, and wired and wireless communication.
This engaging study examines the issue of crisis in European performance since the collapse of global financial markets in 2008. The book’s chapters examine diverse performances of crisis primarily in three cities with a loaded past and present for Europe, as idea and geopolitical reality: London, Athens and Berlin.
Davis explores definitions of entertainment, arguing that it can be found embedded in all forms of theatre, not just the ‘popular’.
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.
Tells the story of feminist performance theory. It explores key debates from its 40-year history, engages with the work of groundbreaking thinkers including Elin Diamond, Jill Dolan, Peggy Phelan and Elaine Aston, and includes case studies of recent performances by established and emerging feminist artists.
Anderson explores the theory and practice of photographing theatre and performance, as well as theatre and photography’s mutual preoccupation with posing, staging, framing, and stillness.
Presents a combined analysis and workbook to examine “socially engaged performance.” It offers a range of key practical approaches, exercises, and principles for using performance to engage in a variety of social and artistic projects.
Between 17/09 and 4/10 2009, the artist invited a musician, an unemployed person, a squatter, a protester, an activist, an artist, a racist and an anti-racist, and others, to spend a day in the Künstlerhaus Bethanien. This book was published in conjunction with the exhibition and documents each individual’s daylong occupation of the gallery space.
From the age of Aristotle to the age of AIDS, writers, thinkers, performers and activists have wresteled with what “performance” is all about. At the same moment, “performativity”–a new concept in language theory–has become a ubiquitous term in literary studies. This volume grapples with the nature of these two key terms whose traces can be found everywhere: in the theatre, in the streets, in philosophy, in questions of race and gender, and in the sentences we speak.
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.
an anthology of source materials for performance
Brings together classic texts that help to define culture as a tool of resistance.
Richard Drain, Twentieth Century Theatre: A Sourcebook, performance studies, featuring performance texts and critical essays from a range of sources.
Situates both companies and approaches within the wider context of Flemish theatre and society.
Reviews ways in which sexuality has been explored and expressed in new forms of performance art and dance, women’s contributions to theatre history, and how theatre has represented women over the centuries.
Part of the Library of Performing Rights (LPR) (P3041).
Examines the relationship between an ethics of performance, a politics of place and a poetics of the urban environment.
Part of the Library of Performing Rights (LPR) (P3041).
How are hybrid and diasporic identities performed in increasingly diverse societies? How can we begin to think differently about theatrical flow across cultures?
Review of Jacques Ranciere’s The Emancipated Spectator
What does theatre do for – and to – those who witness, watch, and participate in it?
Groundbreaking study of the new theatre forms that have developed since the late 1960s,. Translated by Karen Jürs-Munby.
Shows the development of SRI from its earliest performance in front of a handful of people in San Francisco to grand spectacles staged for thousands in the US and Europe. Directed by Jon Reiss.
A Study Room Guide on eating and dining as explored in performance
Oreet Ashery, Larissa Sansour Ashery, Paul Wolf, Melissa Wolf