Presents a broad range of critical and theoretical methods, and applies them to contemporary and historical performance genres. Revised and Enlarged Edition
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.
An Investigation into the political efficacy of Pussy Riot’s art.
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.
Anderson analyzes self-starvation as a significant mode of staging political arguments across the institutional domains of the clinic, the gallery, and the prison.
Special issue on time. The essays and artist pages assembled here are re-articulations of work presented at PSI 19: Performance and Temporality (25-30 June 2013).
Collection of essays.
Boxset contains 40 DVDS documenting public events with contextualising texts. Shelved in Oversize section.
Elizabeth Streb combines memoir and analysis to convey how she became an extreme action dancer/choreographer. This item is part of the Study Room Guide: On Falling by Amy Sharrocks (P2249).
Audio CD of Symposium and performances for Performing Idea.Track List:
Performance Matters: Performing Idea – Performative Writing8th October 3.00-7.30pm (not 7th as stated on disk))Toynbee StudiosWith: Hélène Cixous (on video), Matthew Goulish, Adrian Heathfield and Peggy PhelanNew forms of writing on and around contemporary art and performance have emerged in recent years, alongside the emergence of the artist as cultural critic and curator. These forms of writing often problematize the notion of critical distance, deploying creative, dialogic and autobiographical strategies to engage with the multiple affects of the artwork. To what extent may critical thinking and writing be an art form? Speakers will examine the histories, limits and possibilities of the forms of ‘performative writing’, the dynamics of the performing idea.This session on Performative Writing will also comprise a preview of Trashing Performance, the second themed year of Performance Matters, with contributions from Oreet Ashery, Mel Brimfield, Gavin Butt, Dominic Johnson and Bird La Bird.
“Invited at the same time by the Hebbel Theatre in Berlin, the Tanz-Quartier in Vienna and the Centre National de la Danse in Paris to perform The Last Performance (D0624) I decided, instead of presenting the piece, to make a lecture about its issues. I had the feeling that this difficult piece had not been really understood. Maybe the piece was bad. But I believe that the issues of this piece were relevant, which is why I would like to change my medium and to use the tool of the lecture to try to articulate better the stakes of The Last Performance. I will re-contextualise the piece in its theoretical level through the texts of Roland Barthes and Peggy Phelan and in my artistic situation at that time.”Jérôme Bel www.jeromebel.fr This documentation has since been presented with the permission of the artist as part of the Performance Matters, Performing Idea, Performance Lecture Archive; an interactive video archive housed at the Whitechapel Gallery between 2-9 October 2010. The archive looked at examples of the performance lecture as a form of artistic and critical expression and its potential to address a broad range of cultural issues and philosophical ideas. This item is part of the Study Room Guide On shit, piss, blood, sweat and tears by Lois Keidan (P2195)
This item is part of the Study Room Guide On (W)Reading Performance Writing by Rachel Lois Clapham (P1433), the Study Room Guide On Disability and New Artistic Models by Aaron Williamson (P1529) and the Study Room Guide in Search of a Documentology by Marco Pustianaz (P1115)
Collection of texts concerning a diversity of issues relating to feminism and visual cultures, arranged thematically and introduced by the editor. This item is part of the Study Room Guide on Performance, Politics, Ethics and Human Rights by Adrien Sina (P0661)
Out of Now critical account of Tehching Hsieh's complete body artworks from 1978-1999, conceived by the artist in collaboration with writer and curator Adrian Heathfield.Heathfield's meditation is complemented by an intensive exchange with the artist and a set of letters from leading art theorists Peggy Phelan and Carol Becker, and artists Marina Abramovic, Santiago Sierra, and Tim Etchells, 245 x 320 mm 384 pages 173 colour illustrations and 140 black and white illustrations. This item is part of the Study Room Guide On (W)Reading Performance Writing by Rachel Lois Clapham (P1433)
Drawn from papers and discussions first heard at one day conference held at the Birmingham Institute of Art and Design, University of Central England, 5 June 1999.
Part of the Library of Performing Rights (LPR) (P3041).
This item is part of the Study Room Guide On shit, piss, blood, sweat and tears by Lois Keidan (P2195) and the Study Room Guide on Performance, Politics, Ethics and Human Rights by Adrien Sina (P0661)
This item is part of the 'Glimpses of before: 1970s UK Performance Art' Study Room Guide by Helena Goldwater (P2497)
Publication to coincide with Life, Once More exhibition about reenactments of performances, 2005, Rotterdam