Anderson explores the theory and practice of photographing theatre and performance, as well as theatre and photography's mutual preoccupation with posing, staging, framing, and stillness.
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.
An occasional publication that aims to collate and investigate ideas around place, or more specifically: “indeterminate geographies”. In the third issue, the topic is ‘refuge’.
Part of the Library of Performing Rights (P3041)
Presents a broad range of critical and theoretical methods, and applies them to contemporary and historical performance genres. Revised and Enlarged Edition
The emergence of contemporary art, engaging widely with other disciplines, as a platform for exploring animal nature.
The revival of documentary in art, considered in historical, theoretical, and contemporary contexts.
Focusing on a variety of representations, the book stimulates discussions of s/m through the exploration of censorship in the arts, the fetishization of sexual paraphernalia, recombinations of class, race and sexuality, and the politics of psychoanalysis.
Part of the Library of Performing Rights (P3041).
This article gives examples of a number of initiatives by individual writers, artist collectives, and festivals that test forms of critical writing that are as experimental as the practices to which they relate.
A collection of 14 essays by international scholars and practitioners from across the disciplines of Philosophy, Literature and Theatre and Performance Studies, addressing the nature of the relationship between philosophy and performance.
The first book-length introduction to and critical analysis of contemporary feminist performance, from Madonna to Karen Finley to Cherrie Moraga.
Part of the Library of Performing Rights (LPR) (P3041).
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.
Assembling a remarkable group of scholars, these essays explore how the circulation and exchange of “vectors of the radical” shape the avant-garde.
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.