Documentation of the event marking World AIDS Day. Included a screening of Ron Vawter’s performance at the ICA in 1993 as part of LIFT and a conversation between Neil Bartlett and Nancy Reilly.
Documentation of the event which featured a screening of Theatre Visionary, a documentary about Abdoh, as well as a discussion with film’s director Adam Soch and director and academic Alyson Campbell.
Documentation of the evening which featured a screening of short films and performance documentation by artists working around ritual, performance and queer futurity.
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.
A gathering of international transgender performers and their audiences in Liverpool in November 2011. Part of LADA screens.
Part of the Library of Performing Rights (P3041).
Explores how Marina Abramović has subtly incorporated the law to her economic and professional advantage.
A video essay reflecting on the work and process of Forced Entertainment combining interview fragments, performance excerpts, backstage and rehearsal room material from diverse projects, focused around an excerpt from the group’s 2001 performance First Night.
Part of LADA Screens 15.
From a god-fearing Muslim boy enraptured with their mother, to a vocal, queer drag queen estranged from their family, this is a heart-breaking and hilarious memoir about the author’s fight to be true to themself.
Part of the Library of Performing Rights (P3041).
On Forced Entertainment, prediction, and the community of audience.
Reaffirms the central position of the body in various artistic practices through in-depth conversations with choreographers, composers, visual artists, hip hop artists, dramaturges, a light designer and a puppeteer.
Considers the inter‐disciplinarity of ‘Live Art’ as a field of work and as a performance practice.
From the British Live Art: Essays and Documentation issue.
Includes:
1 A Medea: Requiem for a Boy, 1986 (2 files)
2 Rusty Sat on a Hill One Dawn …,1987 (2 files)
3 Eva Peron, 1987
4 King Oedipus, 1987
5 Peep Show (videos used in performances), 1988 (2 files)
6 Minamata,1989 (2 files)
7 Pasos en la Obscuridad, 1990
8 The Hip-Hop Waltz of Eurydice, 1990
9 Bogeyman, 1991
10 Train Project (un-edited video project @ L.A.T.C.), 1991
11 The Blind Owl and Making of…, 1991
12 The Law of Remains, 1992
13 Simon Boccanegra, 1992 (2 files)
14 Tight Right White, 1993
15 Quotations from a Ruined City, 1994 (2 files)
16 Memorial Service, LA and NY, 1995 (2 files)
17 Mixed Images and Projects
18 Reza Abdoh, Short Video Works
19 Interview Tapes
20 Show Tapes (videos used in performances)
21 Cast Reference Video
An intimate portrait of the world and work of Abdoh and his company.
A collection of secret stories exploring sexuality, vulnerability and desire, taken from interviews with butches, masculine women and gender rebels living worldwide.
Part of the Library of Performing Rights (P3041)
Combines extracts from over 70 international practitioners, companies, collectives and makers from the fields of dance, theatre, music, live and performance art, and activism to form a sourcebook for students, researchers and practitioners.
On Christoph Schlingensief, solo exhibition at MoMA S1, March-August 2014.
A tribute to Tadeusz Kantor.
On Harbourfront Centre 2014 World Stage Festival, Toronto.
Considering how blackness is imagined in and through performance, the contributors address topics including flight as a persistent theme in African American aesthetics, the circulation of minstrel tropes in Liverpool and in Afro-Mexican settlements in Oaxaca, and the reach of hip-hop politics as people around the world embrace the music and dance.
Part of the Library of Performing Rights (P3041)
On what’s not playing in American theatres in the 2017–18 Season.
On Taylor Mac: a 24-Decade History of Popular Music
Consisting of twelve chapters written by leading scholars in the field, and a long interview with Schlingensief himself, the book will provide the reader with the first comprehensive study of the intriguing body of work that Schlingensief has developed over the last thirty years.
Part of Library of Performing Rights (P3041).
Publication on the artistic research platform aiming to explore family relationships within the context of migration and to contribute to the development of telepresence (technologically mediated presence) as an artistic idiom.
Part of Library of Performing Rights (P3041).
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).
A collection of historical essays, critical papers, case studies, interviews, and comments from scholars and practitioners that shed new light on the field of collaborative art.
A collection of texts and images on the bodies of artists and writers who battled with the frustration of their own physicality and whose work reckoned with these limitations and continued beyond them.
Illuminates the shift in approaches to the uses of theatre and performance technology in the past twenty-five years and develops an account of new media dramaturgy (NMD), an approach to theatre informed by what the technology itself seems to want to say.
This front line queer theatre tells first hand stories of how it is to be LGBT/Queer in Serbia and reveals the underlying issues of war, closed borders, neofascism and a country in the process of change.
In English and Serbian.
Part of Library of Performing Rights (P3041).
Project publication: on festival collaboration and festival criticism.
A study of post-millennial solo performance in the UK and Western Europe that explores the contentious relationship between identity, individuality and neoliberalism.
Part of Library of Performing Rights (P3041).
After someone threw a burger at them and shouted a transphobic slur, performance artist Travis Alabanza became obsessed with burgers.
Part of Library of Performing Rights (P3041).
Essays on the concept of total theatre, which emerged from the Bauhaus as a new aesthetic of stage design and presentation.
This volume, which originally appeared as a special issue of The Drama Review, looks at puppets, masks, and other performing objects from a broad range of perspectives.
A collection of manifestos originally published in 1938, in which the artist and philosopher attacks conventional assumptions about the drama.
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).
Presents images of a theatre struggling to move beyond the exchange of desires, beyond even the carnal itself. The performers attempt to break the endless cycle of impersonation and to submit themselves to the supreme gaze. In the glass cabinet.
Passion takes up the theme of sacrifice that plays through all the work of the company, leading its audience into a re-enactment of the Stations of the Cross.
In the glass cabinet.
A frenzied meditation on theatrical obsession, a festive overture of histrionic suffering and flapping genitalia. In the glass cabinet.
Second issue of the journal devoted to reinventing the life of plays on the page.
Celebrates whales in verse and photographs, and in an anthology of prose writings from the worlds of science and literature.
Includes: Theatre / Archaeology, The script's not the thing, Welsh Heterotopias, and an interview with Geraldine Cousin
The audience is divided. Those who can afford it are escorted to their private viewing area, to be served champagne and smoked salmon throughout the show. The rest risk the edges of the performance space, clad only in black lingerie. In the glass cabinet.
A detailed look at the extensive 14-18 NOW programme, which was set up to bring a creative response to the centenary of the First World War.
Fourt issue of the journal devoted to reinventing the life of plays on the page.
Third issue of the journal devoted to reinventing the life of plays on the page.
Against the background of the disembodied voice a visceral and sado-masochistic exchange between bodies makes voyeurs of its audience. In the glass cabinet.