The revival of documentary in art, considered in historical, theoretical, and contemporary contexts.
Combines performance analysis with contemporary political philosophy to advance new ways of understanding both political performance and the performativity of the politics of the street.
Questions whether or not focusing on representations of cruelty makes us cruel. In a journey through high and low culture, the visual to the verbal, and the apolitical to the political, Nelson offers a model of how one might balance strong ethical convictions with an equally strong appreciation for work that tests the limits of taste, taboo and permissibility.
An Investigation into the political efficacy of Pussy Riot’s art.
On the process and politics of live critical responses to a live stream of Forced Entertainment’s And on a Thousandth Night.
Four interviews and ten essays, case studies, manifestos and anti-manifestos by theatre makers, curators, critics, and scholars, presenting various examples of audience participation in theatre and linking them to problems of participation in democracy and to socially engaged art.
Does immersive theatre model a particular kind of politics, or a particular kind of audience? What’s involved in the production and consumption of immersive theatre aesthetics? Is a productive audience always an empowered audience? And do the terms of an audience’s empowerment stand up to political scrutiny?
The first book of its kind to look at the legacy of the avant-garde in relation to the deepening crisis of capitalist non-reproduction.
A stimulated debate on notions of trust and dialogue and their interrelations
Stages an encounter between performance and philosophy to investigate notions of the event, ephemerality and democracy that have perpetually marked the engagement of thought and the theatrical.
Asking exactly what we mean by political art or the politics of art, Rancière goes on to look at what the tradition of critical art, and the desire to insert art into life, has achieved. Has the militant critique of the consumption of images and commodities become, ironically, a sad affirmation of its omnipotence?
Review of Jacques Ranciere’s The Emancipated Spectator