Paper leaves and other constructions
a reading companion to Always Already
compiled and edited by Karen Christopher & Tara Fatehi Irani
Always Already is an 8-hour performance installation by Karen Christopher & Tara Fatehi Irani, which uses materials, text, sound and movement to explore the weaving together of plant, human and machine, including human/plant and human/machine hybrids.
Paper leaves and other constructions is a 32-page booklet, introducing the themes and content of the project, and responding to many of the questions that arose in the creative process. Drawing parallels between a path through life and one through the making of a particular work of performance, the booklet answers the question “how did you do that?”
The booklet includes contributions from Karen, Tara, Payman Kassaei (Professor of Mathematics, Kings College), Felipe Ribeiro (performance artist and researcher), Omikemi (poet), Eirini Kartsaki (performance writer and teacher), and an interview with Henry Dagg (sound sculptor and builder of experimental musical instruments).
A monograph dedicated to the work of Lotta Gadola.
In German and English.
Kindly donated for the Swiss Live Art Study Room Guide.
15 writers explore the experimental, interdisciplinary and radically transgressive field of contemporary live art in South Africa.
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.
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).
A collection of essays, documents, & bibiliography reagrding performance art edited by people associated with a Toronto-based arts organization.
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).
On the process and politics of live critical responses to a live stream of Forced Entertainment’s And on a Thousandth Night.
This book focuses on this award-winning artist’s relationship to Europe and the Mediterranean and explores how one relates to a particular place. Published to accompany exhibitions at the Whitechapel Gallery (Sept 2015 – Jan 2016) and IMMA (Oct-Dec 2016).Part of the Study Room Guide on Live Art and Displacement (P3107).
Catalogue of the eponymous programme of events; Barbican, 20-28 January 2017. Includes archival images from the Warburg Institute and other sources that have provided inspiration to the artists during the making process, an introduction to the work by Siobhan Davies, a conversation between the Warburg Institute and Siobhan Davies Dance, and texts by artists and curators involved.
The book conceives of traditional dramatic theater as a place for taming the future and then conceptualizes how performance beyond this paradigm might stage the unruly nature of futurity.
All performance depends upon our abilities to create, perceive, remember, imagine and empathize. This book provides an introduction to the evolutionary and cognitive foundations of theatrical performing and spectating and argues that this scientific perspective challenges some of the major assumptions about what takes place in the theatre.
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.
Found in miscellaneous article folder #5B
This item is part of the ‘Glimpses of before: 1970s UK Performance Art’ Study Room Guide by Helena Goldwater (P2497)
A catalogue of new writing on performance including essays and dialogues around emergency.
Engages critical dance studies, philosophy, performance studies, cultural and post-colonial studies to propose new and creative dialogues between these disciplines.
3 DVDs of Raimund Hoghe performances. Accompanying photo books also available ref: P1914
6 booklets of photographs from Raimund Hoghe performances. Accompanying DVDs also available ref: D1864
Performance Matters Performing Idea Dialogues,Toynbee Studios 04.10.10:Choreographer Jonathan Burrows and writer and curator Adrian Heathfield have developed a dialogue around the relationship between writing and dancing. They were interested in exploring the creative tension between the distinctive affects of embodied actions and spoken words, investigating their different roles in the making and receiving of meaning. They were fascinated by those moments of intensity – unforgettable yet unspeakable – where something of life is disclosed between sense and sensibility. What are the relative weights of gestures and words in a performance space? How can each open to the other? What place does music occupy in a negotiation between muted movements and sonorous words? What might be some principles of composition for a generative relation between creative writing and choreography?
Catherine Wood examines the political and media context of Rainer’s dance-theatre analysing her radical approach to image-making in live form. Part of One Work series of books, each focused on a single work of art examined by a single author and aimed at provoking debate about significant moments in art.
Part of One Work series of books, each focused on a single work of art examined by a single author and aimed at provoking debate about significant moments in art. Contains a range of illustrations from the artist’s work.
Footage shot by Franko B. This item is part of the Study Room Guide On Disability and New Artistic Models by Aaron Williamson (P1529)
Documentation of performance presented at the ICA in April 1995 as part of the “If I Were You” season. This item is part of the Study Room Guide On Disability and New Artistic Models by Aaron Williamson (P1529) and the Study Room Guide on Performance, Politics, Ethics and Human Rights by Adrien Sina (P0661)