An evening with artists readings of extracts from significant books held in LADA’s Study Room. Part of LADA at 20.
Newspaper created and published through the four-day programme exploring the interconnections of art, activism, performance, politics, health and print.
An intimate collection of letters, poetry and postscripts by artists and writers that seeks to connect, exchange and witness through the action, idea or form of a love letter. The book builds on a programme that took place at Bios, Athens (2015).
Explores the agency and materiality of the archival document through a collection of critical writings and original artworks,
The contributors to this book, writing from a variety of subject disciplines and interests, explore a range of the uses of autobiography from the nineteenth-century to the present day, and from Africa, USA, the Middle East, France, New Zealand, as well as Britain.
Collection of scores and texts markinf thirty years of Forced Entertainment. Contributors were invited to write about their experience of Forced Entertainment following one rule: each text must be exactly 365 words long.
Documentation of The Subjectivity and Feminisms Research Group’s Performance Dinners, in which artists and academics are invited to ‘perform’ their response to the evening’s theme, addressing the relationship between subjectivity and the artwork, particularly in regard to feminist theories. Contributors: Mo Throp, Maria Walsh, Verina Gfader, Georgina Starr, Kate Smith, Leda Papaconstantinou, Monika Oechsler, Katherine Meynell, Despina Meimaroglou, Rebecca Fortnum, Sutapa Biswas, Laura Malacart, Catherine Maffioletti, Claire MacDonald, Dominika Kieruzel, Susan Kelly, Rebecca Hallifax, Lucy Gunning, Fran Cottell, Brian Dawn Chalkley, Jo Bruton, Katie Baker, Gill Addison, Claudia Kappenberg, Celestin Edwards, Maria Walsh, Sarah Tremlett, Ana Laura Lopez de la Torres, Sissu Tarka, Sarah Smith, Lucy Reynolds, Anita Ponton, Susannah Pal, Jo Mitchell, Catherine Maffioletti, Claire Walsh, Marcia Farquhar, Sharon Bennett, Oreet Ashery, Yolande Burgin, Rose Cronin, Elisha Foust, Oriana Fox, Dominika Kieruzel, Elena Loizidou, Kristen Lovelock, Caroline Smith
In (W)reading Performance Writing writer and Co-Director of Open Dialogues Rachel Lois Clapham has assembled twenty practitioners from diverse fields of poetry, theatre, visual art and performance on the topic of Performance Writing. This unique guide comprises of syllabuses, manifestos, scores, personal testimonies and practical exercises, many drawn from resources available in the Live Art Development Agency study room.
The significance and cultural value of experimental theatre and performance practices, their relation to other disciplines and potential to affect cultural change.
Explores the future challenges of performance and theatre through a diverse and fascinating series of interviews, testimonies and perspectives from leading international theatre practitioners and academics.
This item is part of the Study Room Guide On (W)Reading Performance Writing by Rachel Lois Clapham (P1433) and the Study Room Guide in Search of a Documentology by Marco Pustianaz (P1115)
British Theatre by Women from 1968 to 1970, during the 1980s and 1990s. This item is part of the Study Room Guide on Performance, Politics, Ethics and Human Rights by Adrien Sina (P0661)