Tells the story of the theatre blogosphere from the dawn of the carefully crafted longform post to today’s digital newsletters and social media threads.
Analyses the artist’s oeuvre in the contexts of liveness, visual art and participatory practices.
Charts artist and performer Emma Frankland's gender transition against a shifting social and political landscape, while grappling with the systematic erasure of trans history.
Part of Library of Performing Rights (P3041).
This article gives examples of a number of initiatives by individual writers, artist collectives, and festivals that test forms of critical writing that are as experimental as the practices to which they relate.
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.
'Performing Site-Specific Theatre turns a critical eye to the form of site-specific theatre, investigating the nature of the relationship between 'site' and 'performance'. Contributors: Joanne Thompkins, Anna Birch, Michael McKinnie, Susan Bennett, Julie Sanders, Jane Collins, John Webster, Mike Pearson, Kathleen Irwin, Susan Haedicke, Lesley Ferris, Louise Owen, Keren Zaiontz, Bruce Barton, Richard Windeyer, Helen Iball, Sophie Nield
Collection of essays in response to In Between Time festival, Bristol, 2013.
A collection of ‘found' writings about and around Live Art that were originally published, shared, sent, spread and read between January 2010 and December 2011