Situates both companies and approaches within the wider context of Flemish theatre and society.
|Artist / Author||Luk van den Dries and Thomas Crombez|
|Editor||Peter M. Boenisch and Lourdes Orozco|
|Journal||Contemporary Theatre Review|
A collection of ‘found’ writings about and around Live Art that were originally published, shared, sent, spread and read between January 2015 and December 2017. Selected through recommendations and an open call for submissions, Volume 5 reflects the dynamic, international contexts that Live Art and radical performance practices occupy.
Part of 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.
Presents a broad range of critical and theoretical methods, and applies them to contemporary and historical performance genres. Revised and Enlarged Edition
Takes performance studies in exciting new directions, exploring the ways in which ethics can be used to understand the complex questions facing contemporary spectators.
Part of Library of Performing Rights (P3041)
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.
Exhibition catalogue; 22/10/2017 – 15/04/2018. The exhibition was a follow-up of The SEA – salut d’honneur Jan Hoet (2015).
Illuminates the relationship between philosophy and experimental choreographic practice today in the works of leading European choreographers.
Discusses performativity of the name in the context of an artistic endeavour.
Programme of the performance which takes the first book of the Old Testament as its inspiration.
How does protest engage with theatre? What does theatre have to gain from protest?
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.
This article proposes an expanded understanding of Romeo Castellucci's radical performance work as a genuine theatre of ruins.