A collection of manifestos originally published in 1938, in which the artist and philosopher attacks conventional assumptions about the drama.
Provides a historical overview of feminist strands among the modern revolutionary movements of Russia, China and the Third World.
Whether he’s creating a dance composed solely of everyday actions, working with an ensemble of children, or running a “dancing museum,” Charmatz’s work experiments with the body as a vessel for subjectivity, history, and collective action.
Exhibition publication; the exhibition at Palais de Tokyo, Paris, invites audiences to discover languages, codes and cultural expressions that are part of the contemporary creation of Southeast Asia.
Part of the Something Human Study Room Guide on Southeast Asian performance (P3334).
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.
Nicolae, himself a Romanian Roma, gives voice to the Roma cause, offering a precise and candid look at their current situation.
Part of the Study Room Guide on Live Art and Displacement (P3107).
Video documentation of contributions to the Performing Idea Symposium, investigating the shifting relations between performance practice and discourse, event and writing; Toynbee Studios, 5-9/10/2010.
Includes nine files, containing videos of contributions on In Silence, Performative Writing, Reciprocal Aesthetics and Living Archives.
A collection of contemporary food writing by a star cast of authors, including Nigella Lawson, Anthony Bourdain, Jane Grigson, Umberto Eco, Alice Walker, and Isabel Allende.
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.
Published in France in 1965, the book reintroduced the Dada movement to a public that had largely ignored or forgotten it. More than forty years later, it remains both the unavoidable starting point and the essential reference for anyone interested in Dada or the early-twentieth century avant-garde. Translated by Sharmila Ganguly.
Exploring the life and works of Guy de Cointet who explored language through performance and visual art.
A collection of key writings on choreography across the French, U.S and international dance scenes since the turn of the century.
Selected writings of French surrealist Georges Bataille.
A two-DVD collection of 22 performances selected from those presented at the festival between 2010 and 2012.
This item is referenced in the Making Routes Study Room Guide (P1964).
Artist documentation. Much of the publication is written in French, but images documenting the artists works are captioned in English and an interview is also translated into English. See D1663 for documentation.
Performance Matters: Performing Idea – Performative Writing8th October 3.00-7.30pm (not 7th as stated on disk)Toynbee StudiosWith: Hélène Cixous (on video), Matthew Goulish, Adrian Heathfield and Peggy PhelanNew forms of writing on and around contemporary art and performance have emerged in recent years, alongside the emergence of the artist as cultural critic and curator. These forms of writing often problematize the notion of critical distance, deploying creative, dialogic and autobiographical strategies to engage with the multiple affects of the artwork. To what extent may critical thinking and writing be an art form? Speakers will examine the histories, limits and possibilities of the forms of ‘performative writing’, the dynamics of the performing idea.This session on Performative Writing will also comprise a preview of Trashing Performance, the second themed year of Performance Matters, with contributions from Oreet Ashery, Mel Brimfield, Gavin Butt, Dominic Johnson and Bird La Bird.
“Invited at the same time by the Hebbel Theatre in Berlin, the Tanz-Quartier in Vienna and the Centre National de la Danse in Paris to perform The Last Performance (D0624) I decided, instead of presenting the piece, to make a lecture about its issues. I had the feeling that this difficult piece had not been really understood. Maybe the piece was bad. But I believe that the issues of this piece were relevant, which is why I would like to change my medium and to use the tool of the lecture to try to articulate better the stakes of The Last Performance. I will re-contextualise the piece in its theoretical level through the texts of Roland Barthes and Peggy Phelan and in my artistic situation at that time.”Jérôme Bel www.jeromebel.fr This documentation has since been presented with the permission of the artist as part of the Performance Matters, Performing Idea, Performance Lecture Archive; an interactive video archive housed at the Whitechapel Gallery between 2-9 October 2010. The archive looked at examples of the performance lecture as a form of artistic and critical expression and its potential to address a broad range of cultural issues and philosophical ideas. This item is part of the Study Room Guide On shit, piss, blood, sweat and tears by Lois Keidan (P2195)
Publication documenting the three stages of a collaboration between multiple European theatres. 2007-2008