In Other Words is a collection of urgent reflections, created by 49 artists over 4 months in 2020 exploring their hopes and fears for the future at a time of global crisis. Through prose, poetry, drawing, collage and photography it is a clarion call for change from a diverse group rich in wisdom, shared experience, and what it means to be marginalised in the UK.
Documentation of the event marking the end of Restock, Reflect, Rethink Four, a project about Live Art and Cultural Privilege.
Documentation of the event in which Dr Duckie – aka Ben Walters – explained ünt examined his just-completed PhD with Queen Mary University of London on Duckie in the Community. A Library of Performing Rights Open event.
Draws on the experiences and expertise of a wide range of lesbian practitioners and theorists to explore the impact and influences of sexuality and gender on performance.
Part of Library of Performing Rights (P3041).
Celebrates Scottee as a maker, and marks both the achievement and the influence of his work, the fact he not only survived the violence and traumas so much of his work depicts, but thrived.
The Library of Performing Rights (P3041).
Collects scripts, interviews, and commentary to trace the riotous first decade of WOW.
Part of the Library of Performing Rights (LPR) (P3041).
Addresses the work of women playwrights in Britain throughout the twentieth century.
Tammy Whynot wishes LADA a happy birthday.
Two LADA programmes, as part of the 2015 Sacred season at Chelsea Theatre, London, in November 2015.
A publication highlighting a selection of the many events, opportunities, publications and research projects that LADA produced over the course of 12 months in 2015/16.
A critical approach towards images of identity and femininity currently circulating in Japanese popular culture.
Part of the Know How: The Study Room Guide on Live Art Live Art and working with older individuals and communities. (P3140)
This text explores how performers offer conscious-and unconscious-portrayals of the spectrum of age to their audiences. It considers a variety of media, including theatre, film, dance, advertising, and television, and offers critical foundations for research and course design, sound pedagogical approaches, and analyses.
Part of the Know How: The Study Room Guide on Live Art Live Art and working with older individuals and communities. (P3140)
The report looks at the history of the movement and puts it in a policy context; 120 case studies of organisations were identified and numerous examples of all art forms; especially dance, drama, music, singing and the visual arts.
Part of the Know How: The Study Room Guide on Live Art Live Art and working with older individuals and communities. (P3140)
Publication about the Public Wisdom programme: exploring ageing, creativity and the public realm.
Part of the Know How: The Study Room Guide on Live Art Live Art practices and methodologies in relation to working with older individuals and communities. (P3140)
In this wide-ranging collection of essays and articles, Lerman reflects on her life-long exploration of dance as a vehicle for human insight and understanding of the world around us.
Part of the Know How: The Study Room Guide on Live Art Live Art and working with older individuals and communities. (P3140)
Investigates the multilayered social construction of femininity in the mass culture of Weimar Germany, focusing on the photomontages of the avant-garde artist Hannah Hoch.
Part of the Know How: The Study Room Guide on Live Art Live Art and working with older individuals and communities. (P3140)
Drawing primarily on the Western dramatic canon, on contemporary British theatre, on popular culture, and on paratheatrical practices, the book investigates theatrical engagement with aging from the Greek chorus to Reminiscence Theatre.
Part of the Know How: The Study Room Guide on Live Art Live Art and working with older individuals and communities. (P3140)
One of the most revealing accounts of what art creation entails and the ways in which the body, the center of our aesthetic knowledge of the world, can be regarded as our most informed teacher.
Part of the Know How: The Study Room Guide on Live Art Live Art and working with older individuals and communities. (P3140)
Through case studies, this edited collection gives access to some of the leading organisations in the field, examining their creative processes and placing them in their historical context. In parallel, a series of interviews with individual artists explores their approaches and how they are re-shaped by the communities that they encounter.
Part of the Library of Performing Rights (LPR) (P3041).
Part of the Know How: The Study Room Guide on Live Art Live Art and working with older individuals and communities. (P3140)
In the footsteps of Simone de Beauvoir, Looks at many of the issues facing the aged – the war of the generations and baby-boomer bashing, the politics of desire, the diminished situation of the older woman, the space on the left for the presence and resistance of the old, the problems of dealing with loss and mortality, and how to find victory in survival.
Part of the Know How: The Study Room Guide on Live Art Live Art and working with older individuals and communities. (P3140)
Documents and examines the two year collaborative project with over 200 participants from Tower Hamlets, which culminated in the creation of Speak As You Find, an intergenerational site-specific performance created in Autumn 2015.
Part of the Know How: The Study Room Guide on Live Art Live Art and working with older individuals and communities. (P3140)
What are the implications of arts practice in people’s home or private rooms in residential care? What new understandings do they reveal about innovations in form, artistic labour practices and cultural organisations’ capacity? This article examines these questions through two projects.
Part of the Know How: The Study Room Guide on Live Art Live Art and working with older individuals and communities. (P3140)
In misc folder 7.
Interrogates the age-effects generated by early twenty-first century mainstream British theatre. To analyze the complex ways in which age is played out on the British stage–which seem at once both to challenge and to reiterate long-standing assumptions about age–it examines five productions seen in the autumn/winter season of 2011/12.
Part of the Know How: The Study Room Guide on Live Art Live Art and working with older individuals and communities. (P3140)
In misc folder 7.
Phase 1 report on the project which seeks to challenge ageist attitudes that, being old, residents will not wish to enjoy up-to-date work, and provides care home residents with access to top level arts experiences, even if they are physically or mentally frail.
Part of the Know How: The Study Room Guide on Live Art Live Art and working with older individuals and communities. (P3140)
Now in paperback and with a new preface by Susan Bennett, the book explores an interdisciplinary range of topics, including: theatre and urban policy development; architecture, trauma, and memory; urban performance history; site-specific performance and urban politics; sexuality and nationality in urban performance; and environmental performance theory.
Documentation from the LAUK Gathering, at Watershed, Bristol on 12 February 2015. The Gathering considered the idea of the Storm as a metaphor for change.
Catalogue for the festival exploring the physical, mental and social challenges of life and death and how we survive them (or not), in venues across Brighton & Hove, Manchester and Salford, 2-25 march 2015. Includes performances synopsis, commissioned essays, debates, literarure, films programme and information.
Video documentation of a performance and publication project about the UK female to male transgender experience based on real life stories. Presented as part an extensive programme curated by Lois Keidan and Aaron Wright (Live Art Development Agency) entitled “Just Like A Woman”, composed of lectures, performances, readings, installations, screenings, workshops and debates on performance of identity, is fully dedicated to the impact of performance on feminist histories and the contribution of artists to discourses around contemporary gender politics. From the 19th edition of the City of Women (Mesto žensk) festival – 2-13 October 2013, Ljubljana, Slovenia – entitled “Let’s create a place for ourselves” on public space and politics.
An open source workshop template drawn from the artists' series of two-day creative workshops in London, San Francisco and Palo Alto. Loose printed pages in large folder.
The Long Table on Feminism was facilitated by Lois Weaver at the White Building in Hackney Wick as part of RRR3. More info here.
Below is the documentation from the event which comprises of photos, a zoomable image of the Long Table table cloth and an audio recording of the discussion, which features multiple voices from around 30 participants who joined the table at various different times during the event.
Photographs by George Chakravarthi taken at City of Women festival, 2013.
Boxset contains 40 DVDS documenting public events with contextualising texts. Shelved in Oversize section.
This manual isn’t for theatre technicians and it doesn’t aim to make you into one. What it aims to do is give you a greater understanding of how to approach, plan and execute technical set ups in order to make your artistic visions a reality.
Publication accompanying the homonymous symposium: a collaboration between Plymouth Arts Centre and artist Marina Abramovic to produce a performance event that explored the history and future of the artist’s work. Newspaper-style publication in large folder.
British Library Sound Archive recording and documentation of the “Performance Matters” events, 30 April 2010. Lois Weaver responds to the theme of ‘process’. with Adrian Heathfield. Also see ref. D1920-3 and D1316-D1319.
Carmelita Tropicana / part of Trashing Performance commissioned by Performance Matters.
Part of the Trashing Performance programme – the second year of Performance Matters – 25-29th October 2011.
Publication of the verbatim theatre show of the same title.
Total Theatre Talks on female practitioners in physical and visual performance.
Choreography by Stormy Brandenburger, music and sound design by Laka Daisical, Costumes and sets by Annabel Lee
Choreography by Stormy Brandenburger, music and sound design by Laka Daisical, Costumes by Susan Young, sets by Nancy Bardowil.
Choreography by Stormy Brandenburger, Costumes by Susan Young, sets and lighting by Joni Wong. Originally produced for the Velseka Festival, PS122, 1987
Music composed by Laka Daisical and Phil Booth, costumes by Susan Young, sets by Matthew Owen and Nancy Bardowil.
How might performance engage us in thinking and feeling our relationship to money, magic, pretending, imagination: what is it we are looking for in the make-believe world we live in?
Symposium programme notes:This symposium will consider questions of performance, belief, and credit.One way in which some kinds of performance distinguishes itself from other kinds – that sometimes go under the name of ‘theatre’ – is by emphasising that what it is doing is ‘real’, as opposed to the acting and pretending that goes on elsewhere. ‘Performing the Real’ was the subject of the 2009 symposium held as part of SACRED. This time we are turning away from the ‘real’ to think about the many ways in which performance is still interested in make-believe, and how make-believe itself might turn out to be part of the ‘real’.The current financial crisis has revealed how the system upon which we supposedly all depend is itself dependent upon how much we believe in it. Value is an expression of belief: if we believe that such and such a company, or bank, possesses the assets it purports to possess, then, in effect, those assets exist. The moment we stop believing, the value of the company or bank collapses, and the assets in question cease to exist.A credit crunch is what happens when people suddenly stop believing in the financial system – or when we start to wonder why we believe what we are seeing on stage. How might performance engage us in thinking and feeling our relationship to money, magic, pretending, imagination: what is it we are looking for in the make-believe world we live in? The symposium will feature: * a discussion with Richard Foreman (Ontological-Hysteric Theater); * keynote presentations from performance scholars Sara Jane Bailes, Jen Mitas, and Nicholas Ridout; * performative provocations from artists Karen Christopher and Sara Juli, also presenting work in the SACRED season; * break-out panels from a range of researchers and artists; * a Long Table discussion hosted by Lois Weaver; * the attendance of Richard Maxwell (New York City Players) and PS122 Director Vallejo Gantner; * the UK premiere of New York City Players’ ADS.
Value is an expression of belief: if we believe that such and such a company, or bank, possesses the assets it purports to possess, then, in effect, those assets exist. The moment we stop believing, the value of the company or bank collapses, and the assets in question cease to exist. A credit crunch is what happens when people suddenly stop believing in the financial system – or when we start to wonder why we believe what we are seeing on stage. Symposium Notes
What does theatre do for – and to – those who witness, watch, and participate in it?
This item is part of the Study Room Guide in Search of a Documentology by Marco Pustianaz (P1115)