The concluding volume to Moten’s landmark trilogy consent not to be a single being.
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)
How do artists respond to the question of collective survival in the face of crisis? Can writing articulate, subvert and test the ever-present question of the future in modes that are nonlinear, affective and even choreographic? What are our hopes, fears and desires?
Part of Library of Performing Rights (P3041).
Offers a richly detailed portrait of the internationally renowned composer, performer, director, and filmmaker.
This interdisciplinary history and theory of sound in the arts reads the twentieth century by listening to it–to the emphatic and exceptional sounds of modernism and those on the cusp of postmodernism, recorded sound, noise, silence, the fluid sounds of immersion and dripping, and the meat voices of viruses, screams, and bestial cries.
An absorbing portrait of an artist whose career spans three decades of American avant-garde performance. Collecting writings by Monk herself, along with significant reviews, essays, interviews, and photographs of Monk’s unique performance events, the book establishes her as one of the great treasures of contemporary American culture.
This text explores how performers offer conscious-and unconscious-portrayals of the spectrum of age to their audiences. It considers a variety of media, including theatre, film, dance, advertising, and television, and offers critical foundations for research and course design, sound pedagogical approaches, and analyses.
Part of the Know How: The Study Room Guide on Live Art Live Art and working with older individuals and communities. (P3140)
Explores how artists engaged with the sonic conditions of modernity through dramatic form, characterization, staging, technology, performance style, and other forms of interaction.
Video recordings of the performance presented as part an extensive programme curated by Lois Keidan and Aaron Wright (Live Art Development Agency) entitled “Just Like A Woman”, composed of lectures, performances, readings, installations, screenings, workshops and debates on performance of identity, is fully dedicated to the impact of performance on feminist histories and the contribution of artists to discourses around contemporary gender politics. From the 19th edition of the City of Women (Mesto žensk) festival – 2-13 October 2013, Ljubljana, Slovenia – entitled “Let's create a place for ourselves” on public space and politics.
This interview explores connections within editor Bonnie Marranca’s work and considers the way in which it has developed in conversation with artists in and around New York.
Investigates sound art and its various manifestations through historical, theoretical, polemical and critical analyses of artistic, musical and literary works
The first collection of the texts by one of the world’s leading and most controversial performance artists. Diamanda Galas’s texts are interspersed with biblical passages, poetry from renowned writers and her own thoughts.
British Library Sound Archive recording and documentation of the “Performance Matters” events, 30 April 2010. A Play For Offstage Voices is a score composed entirely of lines written to be spoken from off stage. Voices authored by well-known writers to call, shout, cry and exclaim from somewhere, above and within have been collected and choreographed into an ‘event score’ in which voices such as Beckett’s V, Lorca’s Voz and Stoppard’s voice (in the darkness) encounter each other in the marked off space they share. Also see ref. D1920; D1922-3 and D1316-D1319.
Programme for Verb an annual performance festival dedicated to performance by artists from Brazil and the rest of the world. partnership with the Centro Cultural São Paulo and FUNARTE. Language: English and Portuguese. (The programme features descriptions of the actions in the original language and in English).
A work centring around a choral piece for which Karikis invites an ex-miners’ choir to recall and sing the subterranean sounds of a working coal mine.
Part philosophical meditation, part cultural critique, this profoundly original work explores the nature of physical suffering.
This item is part of the Study Room Guide on Performance, Politics, Ethics and Human Rights by Adrien Sina (P0661)
Part of the Library of Performing Rights (LPR) (P3041).
Part of Access All Areas Screening Programme, also available with subtitling as ED1227SUB. This item is part of the Study Room Guide On Disability and New Artistic Models by Aaron Williamson (P1529)
In February 2013 the In Between Time Festival invited the Live Art Development Agency to curate a small selection of Study Boxes. Each Box contains between five and eight hand picked books and other materials drawn from the Study Room. Reflecting many of themes represented within In Between Time the Boxes hoped to inspire, excite and intrigue festival-goers who could rummage through them in their own time at the festival hub. Although the selected materials are no longer in their Study Boxes you can use the list of materials within the Study Room Guide to explore the themes and artists during your visit to the Agency’s Study Room. The Study Boxes are a collaboration between the Live Art Development Agency and Spill Festival of Performance. First created for the SPILL Festival in Ipswich in 2012.