Part (10) of Paysages Choregraphiques Contemporains dans le Monde
| Artist / Author | Celine Serrano, Bernado Montet |
|---|---|
| Reference | D1737 |
| Date | 2007 |
| Type | DVD |
Presents a broad range of critical and theoretical methods, and applies them to contemporary and historical performance genres. Revised and Enlarged Edition
Focuses on how theatre, dance, and other forms of performance are helping to transform our ecological values.
Part of the Library of Performing Rights (P3041).
The first volume in the trilogy consent not to be a single being engages in a capacious consideration of the place and force of blackness in African diaspora arts, politics, and life.
In exploring the human-animal relationship from the early modern period to the nineteenth century, this publication questions what it means for an animal to “perform,” examines how conceptions of this relationship have evolved over time, and explores whether and how human understanding of performance is changed by an animal’s presence.
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.
With his painter’s eye, Jarman conjured, in a beautiful palette of light, colour and texture, an evocative and radical visualisation of Shakespeare’s love poems. Includes interviews, an illustrated booklet, and stills gallery.
The first in-depth sourcebook in English on the compant, providing first-hand accounts of the development of its collectivist practices and ideals.
Part of the Library of Performing Rights (LPR) (P3041).
A polemical thinking-through of the whole concept of theatre as a ‘space’, and a politically motivated exploration of how, and where, that theatrical space meets the real world that surrounds and suffuses it.
The first book to provide a collection of key writings about the process of documenting performance, focused not on questions of liveness or the artistic qualities of documents, but rather on the professional approaches to recovering, preserving and disseminating knowledge of live performance.
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)
This provocative book meets the supposedly ‘live’ practices of performance and the ‘no-longer-live’ historical past at their own dangerous crossroads. Focussing on the ‘and’ of the title, it addresses the tangled relations between the terms, practices, ideas, and aims embedded in these compatriot – but often oppositional – arts and acts of time.
Critically engaging with examples of stage combat, rape, terrorism, wrestling and historical re-enactments, Nevitt argues that studying violence through theatre can be part of a desire to create a more peaceful world.