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 |
| Reference | A0353 |
| Date | 2010 |
| Journal | Contemporary Theatre Review |
| Journal page | 421-431 |
| Type | Article |
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)
Exhibition catalogue; 22/10/2017 – 15/04/2018. The exhibition was a follow-up of The SEA – salut d’honneur Jan Hoet (2015).
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.
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.
Draws upon cognitive and affect theory to examine applications of contemporary performance practices in educational, social and community contexts. The writing is situated in the spaces between making and performance, exploring the processes of creating work defined variously as collaborative, participatory and socially engaged.
Surveys the changes in acting and performance during the crucial transition from the ecstatic theatre of the 1960s to the ironic postmodernism of the 1980s.
The author’s concerns – which include the social meaning of illusion and the cultural manifestation of power – take the reader from Eleanora Duse to Laurie Anderson; from the puppet theatre of Kleist to Kantor’s theatre of the dead; and from the Kutiyattam temple dancers in Kerala to Womanhouse in Los Angeles.