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.
| Artist / Author | Ella Jean Finer |
|---|---|
| Reference | D1921 |
| Date | 2010 |
| Type | DVD |
The concluding volume to Moten’s landmark trilogy consent not to be a single being.
A short video derived from the photographs, rehearsal footage and other documentation of And I – a single channel eight-hour video of Marcia Farquhar speaking without edits of sustained pauses.
Part of LADA Screens 7.The film was availble online between 24 Feb and 9 March on the LADA Screens Channel.
An idyllic location, a perfect spot, but something just isn't quite right, something doesn't fit.
Part of LADA Screens 14. The film was available online 23 August – 6 Spetember 2016 on the LADA Screens Channel.
Documentation from Satisfyin Lover and Showing Solo, two performances which opened the Thinking Bodies Conference.
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.
Anthology of interdisciplinary essays which critically examines the interlocking themes of artistic authorship, authenticity, and legacy from legal, art market, and art historical perspective.
A collection of essays from the leading avant-garde critic of the era focuses on individual performances and performers, providing a unique critical record of their work and of the movement.
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.
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.
A performative publication enabling a rich array of theatrical and artistic scores that can be performed at a moment’s notice.
Part of the Library of Performing Rights (LPR) (P3041).