[CDL #2]: Dansa i Pensament
Editor | Ana Buitrago |
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Reference | P1608 |
Date | 2009 |
Type | Publication |
Publication on a new entity of events as part of ANTI Festival, where the artists shortlisted for the International Prize of Live Art present their work.
In English and Finnish.
The revival of documentary in art, considered in historical, theoretical, and contemporary contexts.
Examines the significance of the transgender body and presents a series of case studies focused on the meanings of masculinity in its dominant and alternative forms – especially female and trans-masculinities as they exist within subcultures, and are appropriated within mainstream culture.
Part of the Library of Performing Rights (P3041)
Combines performance analysis with contemporary political philosophy to advance new ways of understanding both political performance and the performativity of the politics of the street.
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).
Questions whether or not focusing on representations of cruelty makes us cruel. In a journey through high and low culture, the visual to the verbal, and the apolitical to the political, Nelson offers a model of how one might balance strong ethical convictions with an equally strong appreciation for work that tests the limits of taste, taboo and permissibility.
The publication is a result of 6 dinners / meetings held with a group of artists around the themes of desire and creative processes. In Portuguese.
An Investigation into the political efficacy of Pussy Riot’s art.
On the process and politics of live critical responses to a live stream of Forced Entertainment’s And on a Thousandth Night.
Sx essays, three interviews, and six case studies of performance makers, institution directors, and thinkers, proposing diverse strategies of implication and engagement, opening up possible futures and alternative exchanges between parties that are often too often still seen as adversaries.
Four interviews and ten essays, case studies, manifestos and anti-manifestos by theatre makers, curators, critics, and scholars, presenting various examples of audience participation in theatre and linking them to problems of participation in democracy and to socially engaged art.
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?