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.
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.
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.
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.
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.