Works against the framing of black and brown bodies as sexualized, objectified, and abject, and offers multiple ways of thinking with and through sensation and aesthetics.
Part of the Library of Performing Rights (P3041).
Examines five performance/artworks: The Artist is Present (2010) by Marina Abramović; The Deer Shelter Skyscape (2007) by James Turrell; CAT (1998) by Ansuman Biswas; Journey to the Lower World by Marcus Coates (2004); and the work with pollen by Wolfgang Laib.
Shows how contemporary art is a powerful yet largely unacknowledged player in the articulation of depression in Western culture, both adopting and challenging scientific definitions of the condition. Ross explores the ways in which contemporary art performs the detached aesthetics of depression, exposing the viewer's loss of connection and ultimately redefining the function of the image.
Complete archive of Tsitsopoulos' “Is Art Lonely?” project, including artist CV; video of performance at LADA; curatorial texts; drawings; Is Art Lonely? (video), video and photo documentation.
In glass cabinet.
Illuminates the relationship between philosophy and experimental choreographic practice today in the works of leading European choreographers.
The first scholarly book to focus exclusively on theatre and learning disability as theatre, rather than advocacy or therapy.
Part of the Library of Performing Rights (LPR) (P3041).
While considering repetition in relation to the difficult pleasures we derive from the theatre, this book explores ways of accounting for such experiences of theatre in memory and writing.
Analyzes artistic performances, social performances, archival remains, and memoirs of the underground theater scene in 1960s New York.
Introducing the idea of performance as a shared transformative experience, this engaging book will help you make sense of the performer/audience interaction in a landscape where boundaries are collapsing.
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.
All performance depends upon our abilities to create, perceive, remember, imagine and empathize. This book provides an introduction to the evolutionary and cognitive foundations of theatrical performing and spectating and argues that this scientific perspective challenges some of the major assumptions about what takes place in the theatre.
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.
This first historical and critical analysis of the artist’s work by prominent scholars and the artist herself brings nearly forty years of creative output into focus by tracking the development of her constant themes through each medium. The essays range from formal to theoretical to psychological to poetical analyses. Includes a DVD.
Drawing on many examples from contemporary performance, this book is a provocative starting point for understanding the surprisingly complex relationship between theatre and the body. Foreword by Marina Abramovic.
The publication is comprised of eight essays, two interviews, and 15 case studies of political theatre makers, and investigates the performing arts as a political laboratory of the present. It explores how theatre, dance, and performance reveal their essential agnosticism, provoking the potential to actively change society rather than merely serving as a cover-up for the dysfunctions, fractures, and wounds of society.
A book about theatricality and spectatorship in the early twenty-first century. In a wide-ranging analysis that draws upon theatrical, visual and philosophical approaches, it asks how spectators and audiences negotiate the complexities and challenges of contemporary experimental performance arts.
Lola Arias, co-curator of the international urban intervention project Ciudades Paralelas, talks with Bertie Friedman about reappraising notions of public space and spectatorship.
This essay extracted from Études Irlandaises (n° 39-1) examines “Redress” (2010-2012), a series of performances by artist Áine Phillips that interrogate the legacy of abuse perpetrated in Irish residential institutions in the 20th century.
Investigates the extent to which performance can represent the ‘unrepresentable’ of trauma.
Exploration of art from the position of the producer, who does not ask what it looks like or where it comes from, but why it exists in the first place.
Bringing together contributors from dance, theatre, visual studies, and art history, the publication addresses the conundrum of how Live Art is positioned within history.
Being Seen Being Heard, Symposium at Sacred: Keeping the Faith, festival at Chelsea Theatre, London, 24-28 November 2011.
See also D0342 for still images, and P1002 essays and catalogue.
Richard Drain, Twentieth Century Theatre: A Sourcebook, performance studies, featuring performance texts and critical essays from a range of sources.
Traces Dolan’s key terms – ‘publics’, ‘feelings’, ‘practice’, ‘utopian performatives’ and ‘performance’ – personally and politically rather than from a strictly scholarly perspective.
An inventive, participatory and humorous performance that playfully challenges the conventions of theatre, watching and our imagination.
Review of Jacques Ranciere’s The Emancipated Spectator
On Societas Raffaello Sanzio’s Inferno, Purgatorio, and Paradiso.
This article analyzes the question of where the dominant mode of production lies – on the screen, where action and a singular character identity cohere, or behind the screen, where the embodied difference of the actors is continually prioritized.