. An introduction to performance in the territory of art: far from proposing a linear history, the volume offers a series of thematic and transversal approaches to performance.
Draws on recent debates about sexuality, race, and affect to examine how matter that is considered insensate, immobile, or deathly animates cultural lives.
Traces the many ways in which museums have approached performance works from the 1960s onwards, considering the unique challenges of documenting live events.
Explores the agency and materiality of the archival document through a collection of critical writings and original artworks,
Publication on the week-long, 24/7 durational performance art event which took place in a three-bedroom house, showcasing 10 international artists living and working together and live-streamed on Youtube.
A polemical thinking-through of the whole concept of theatre as a ‘space’, and a politically motivated exploration of how, and where, that theatrical space meets the real world that surrounds and suffuses it.
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.
Key critical writings by artist and curator Ian White (1971-2013), ranging from reviews and catalogue essays to entries from his blog Lives of Performers.
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.
Explores how different concepts of time – including linear clock time, the cyclical time of the planets and seasons, the rhythms of the body and individual memories – have impacted on and been reinforced by theatre throughout history, from medieval times to the present day.
Anderson analyzes self-starvation as a significant mode of staging political arguments across the institutional domains of the clinic, the gallery, and the prison.
Poses questions over the nature of action, identity and the self in the relationship with media forms.
Approaches to thinking, writing, producing and receiving (syn)aesthetic performance
Held in Misc Article Folder 2
From the Collecting Live Art Symposium, Saturday 26 January 2008.
POINT is a pocket size publication published twice a year including full details of Performance Space seasonal programme, Performance Space, Sydney, Australia. Live Live season October – November 2010. 2 copies archived.