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.
Reaffirms the central position of the body in various artistic practices through in-depth conversations with choreographers, composers, visual artists, hip hop artists, dramaturges, a light designer and a puppeteer.
Illuminates the shift in approaches to the uses of theatre and performance technology in the past twenty-five years and develops an account of new media dramaturgy (NMD), an approach to theatre informed by what the technology itself seems to want to say.
Theorizes the racialized structures of inequality that pervade theater and the arts.
Part of The Library of Performing Rights (P3041)
Features 16 commissioned contributions from scholars, arts journalists and bloggers, as well as a small selection of innovative critical practice, sharing perspectives on relevant historical, theoretical and political contexts influencing the development of the discipline, as well as specific aspects of the contemporary practices and genres of theatre criticism.
Programme booklet.
The first scholarly book to focus exclusively on theatre and learning disability as theatre, rather than advocacy or therapy.
Part of the Library of Performing Rights (LPR) (P3041).
Elaborates a new perspective on performance that links ecology and aesthetics.
Despite the problematic politics of cultural exchange in the theatre, interculturalism is not a one-sided process. Using the metaphor of the hourglass to discuss the transfer between source and target culture, Pavis asks what happens when the hourglass is turned upside down, when the `foreign' culture speaks for itself.
Part of the Library of Performing Rights (LPR) (P3041).
Print newsletter from Create Ireland; includes an interview with Sandra Noeth. May 2017.
Collects theoretical dramas written by some of the leading scholars and artists of the contemporary stage. These dialogues, prose poems, and microfictions describe imaginary performance events that explore what might be possible and impossible in the theatre.
A cofounder of the United Kingdom's legendary 1980s performance theatre company Impact Theatre Co-op, MacDonald composed Utopia, a sequence of commissioned play texts, between 1987 and 2008. This edition brings together both the plays and the story of how the plays came to be made and written.
Starting from the premise that live performance is experienced in a material, local context, the chapters analyse the intricate and complex workings of queer dramaturgy within specific venues, cities, nations or transnationally.
Introduction to Loher's play, with particular emphasis on Innocence – the play and Michael Thalheimer's 2012 production.
All issues (pilot-6) of the “international cross-artform bi-monthly”.
Reviews from New York: Sleep No More (Punchdrunk), The Sound and the Fury (Elevator Repair Service), Argument Sessions (Ilana Baker)
Includes The Wollstonecraft Live Experience! programmes and materials, two programmes for the Stoke Newington Literary Festival, and a list of publications.
A new translation of Hoghe’s original rehearsal diary that documented the legendary Tanztheater Wuppertal’s work on Bandoneon (1980), illustrated with photos of the production by Ulli Weiss, and personal images and notes from the dancers.
Translated from the German by Penny Black.
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.
Part game, part improvisation, this unique 24-hour live experience pits alternating pairs of performers against one another as they test their opponents with an avalanche of questions.
Recording on a hard drive.
Recorded 12-13 April 2013 at the Barbican; part of SPILL.
In a safe box.
The Mums and Babies Ensemble was a series of public workshops and events convened by three mums/theatre-makers and their babies. It was prompted by the desire to integrate the structure and chaos of performance-making and motherhood, to create a space that would meet the needs of the parents and babies equally, to capture some memories, to grow a community, and to pass something on eventually.
By institute for the Art and Practice of Dissent at Home.
A collectio of texts and images on the work of the German choreographer and dramaturg. Photos by Rosa Frank, Luca Giacomo Schulte, Jacqueline Chambord and Raimund Hoghe. Texts in English, French, German.
Special Issue: The Politics, Processes, and Practices of Editing. Also includes sections on Commisioning, Authoring, Submission, Curation, Production, and Dissemination.
Special issue of the Italian periodic on TEATR.DOC Moscow. Text in Italian.
An extensive series on Lin Hixson and Goat Island.
Dramaturg and curator Norman Frisch discusses qualities that distinguish theater from other “time-based art,” highlighting connections to mystery and classicism.
In this article, Tom Sellar begins to define the mercurial role of the performance curator that has been emerging at the intersections of theatrical practice and the visual arts and their presentation.
T, his special issue of Contemporary Theatre Review focuses on a single writer, contemporary British playwright Martin Crimp. Includes a review of Ron Athey's monography “Pleading in the Blood” and Jennifer Doyle's book “Hold it Against me”.
Brings together the action art and performances of the Belgian artist from the 70s to the present: drawings, thinking models, collages, films, photos and other documentation.
film about the life of Robert Wilson
Staging Black Feminisms sets out to challenge perceptions of black women’s theatre work as inherently feminist. Drawing on black feminist theories of identity and theories of black and feminist performance form, it analyses key themes such as migration, motherhood, sexuality, mixed race identity and interracial relationships in a range of late-twentieth and early twenty-first century black British women’s plays and performances.
Body: Language is a series of public conversations in which choreographers and artists consider the role of the body in their work. This edition features a conversation between series curator Guy Cools, Jonathan Burrows and Matteo Fargion about the imaginative body.
Part of the Anna Birch collection ‘Fragments to Monuments’, 1 x book, 3 x DVDs
Part of the Anna Birch collection ‘Fragments to Monuments’, 1 x book, 3 x DVDs
Part of the Anna Birch collection ‘Fragments to Monuments’, 1 x book, 3 x DVDs. Includes DVD
Journal Article reflecting on a site-specific collaborative performance work at the Chisenhale Dance Space, London, UK. In Miscellaneous Article 4 folder.
Explores the legacy of the godfather of scenography.
Essays by Antonio Araujo, Mario Bellatin, Pablo Caruna, Oscar Cornago, Juan Dominguez, Adrian Heathfield, Hans-Thies Lehmann, Andre Lepecki, Angelia Liddell, Bonnie Marranca, Quim Pujol, Jose A Sanchez. Text in both English and Spanish.
David Williams, Geographies of Requiredness: Notes on the Dramaturg in Collaborative Devising
On European dramaturgy in the 21st Century.
Amsterdam readings on the Arts and Arts Education. Drawing on contemporary practice and scholarship in the fields of dance, performance and installation art, theatre/archaeology, ethnography, holistic bodywork and the history of medicine, the collection provides insights into the body as a problematic site of performance and suggests a ‘new authenticity' which equates both its phenomenological and representational aspects. This item is part of the Study Room Guide: On Falling by Amy Sharrocks (P2249).
In The Dyas Sisters, you’re met with personal history write large. Richard Gregory asked Grace and Veronica if they would write a book in which they tried to describe everything that has happened in their lifetime, knowing from the outset that this was an impossible task. Every memory suggests another, each new approach to writing illuminates an alternative.