Documentation of the event which featured a screening of Theatre Visionary, a documentary about Abdoh, as well as a discussion with film’s director Adam Soch and director and academic Alyson Campbell.
Tells the story of the theatre blogosphere from the dawn of the carefully crafted longform post to today’s digital newsletters and social media threads.
Eight issues of the interview zine about performance.
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.
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).
Citing Howells’ permissive mantra as its title, the book includes new writing from leading scholars and artists, as well as writing by Howells himself, an extensive interview, scores, and visual materials, which together offer new insight into the artist’s ground-breaking process.
Reversing the common understanding of annotation as a posterior act of adding information to already existing sources, this article argues that annotation also serves as a pre-performance procedure facilitating artistic creation.
This article proposes an expanded understanding of Romeo Castellucci's radical performance work as a genuine theatre of ruins.
The first-ever biography in English the most influential performer and choreographer of the 20th century.
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).
This provocative book meets the supposedly 'live' practices of performance and the 'no-longer-live' historical past at their own dangerous crossroads. Focussing on the 'and' of the title, it addresses the tangled relations between the terms, practices, ideas, and aims embedded in these compatriot – but often oppositional – arts and acts of time.
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.
A selection of essays and plays, including ‘The Cure’, ‘Film Is Evil: Radio Is Good’, ‘Symphony of Rats’, “What Did He See?’ and ‘Lava’, foreward by Peter Sellars.