Brings together the work of acclaimed blogger, writer, political activist and lecturer, covering the period 2004 – 2016.
An exploration of what it means to be fabulous—and why eccentric style, fashion, and creativity are more political than ever.
Catalogue for the performance festival at the 2009 Biennale – PRAXIS: Art in Times of Uncertainty.
In Greek and English.
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.
Argues that the awkwardness of our age is a key to understanding human experience.
Publication accompanying the eponymous exhibition at the Transition Gallery, 16 June-15 July 2007; with texts by a number of writers including Iain Sinclair, Charlie Porter and Ruth Jarvis.
An exploration of Adrian Howells's artistic practice of creating work that promotes intimacy and genuine exchange with an audience.
A functioning outdoor lecture theatre in a roadside refuse skip and ad hoc lecture series on the subject of what is and what is not trash.
Part of the Trashing Performance programme, 25-29th October 2011.
Foreword by Catherine Texier
Also in this issue, articles on Ali G, ‘performing black’ (Rachel Garfield – ‘Just Who Does He Think He Is?’) and on ‘The Living Archive’.
“Today's academic discourse is filled with the word 'perform'. Nestled amongst a variety of prefixes and suffixes (re-, post-, -ance, -ivity?), the term functions as a vehicle for a host of contemporary inquiries. For students, artists, and scholars of performance and theatre, this development is intriguing and complex. By examining the history of theatre studies and related institutions and by comparing the very different disciplinary interpretations and developments that led to this engagement, Professing Performance offers ways of placing performance theory and performance studies in context. Shannon Jackson considers the connection amongst a range of performance forms such as oratory, theatre, dance, and performance art and explores performance as both a humanistic and technical field of education. Throughout, she explores the institutional history of performance in the US academy in order to revise current debates around the role of the arts and humanities in higher education.” This item is referenced in the Dreams for an Institution Guide (P2313).