For over five years Harrison documented and recorded information about nearly every aspect of her daily routine, amassing reams of data in the process. But these laborious, demanding and introverted processes took their toll. Something had to give. Ellie had to quit!
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?
What is the quality of participation in contemporary art and performance? Fair Play: Art, Performance and Neoliberalism explores this question through the work of important contemporary artists and organizations including Marcus Coates, Phil Collins, Jeremy Deller, Michael Landy, Grayson Perry, Rachel Whiteread, Lone Twin, Punchdrunk, Tate Modern and the National Theatre.
As the Creative City model for urban regeneration founders on the rocks of the recession, and the New Labour public art commissioning frenzy it triggered recedes, the authors take stock of an era of highly instrumentalised public art making.
Examines some of the most important performance in Britain from the mid-1980s into the new millennium.