Performance art Books

Book SynopsisIn the mid-1950s, Yves Klein (1928–1962) declared that “a new world calls for a new man.” With his idiosyncratic style and huge charisma, this bold artist would go on to pursue a brief but bountiful career, producing more than 1,000 paintings over seven years in an oeuvre now considered a mainstay of postwar modernism. Klein made his name above all with his large monochrome canvases in his own patented hue of blue. International Klein Blue (IKB), composed of pure pigment and binding medium, is at once rich and luminous, evocative and decorative, and was conceived by Klein as a means of evoking the immateriality and infinitude of the world. The works of this “Blue Revolution” seem to draw us into another dimension, as if hypnotized by a perfect summer sky. Klein was also renowned for his deployment of “living brushes,” in which naked women, daubed in International Klein Blue, would make imprints of their bodies on large sheets of paper. This Basic Art introduction presents key Klein works to introduce an artist who was at once a showman, inventor, and pioneer of performance art. With page after page of the ever-alluring International Klein Blue, it is both an essential guide to a modern art master and a meditation on the unique effects of a single color.

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Book SynopsisBodies of Sound began by enquiring into how sonic experience is intervening in realms such as gender, memory, disability justice, anti-colonial ways of knowing, and anti-war movements - responding to our contemporary emergencies. What has emerged is a collection that makes an expansive case for listening for peace,Featuring over thirty contributors, this groundbreaking anthology explores sound and listening through the lens of the body. Bringing together poets, artists, writers and musicians including Anne Carson, Svetlana Alexievich, Sara Ahmed, Pauline Oliveros and Don Mee Choi, Bodies of Sounds maps the intricate links between feminist sonic culture and radical listening.

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Book SynopsisStunningly beautiful, deeply puzzling, profoundly moving or intensely unsettling – performance art can evoke a wide variety of responses. In this important and richly illustrated book, Catherine Wood, one of the world’s leading curators and writers on the subject, provides the broadest and most up-to-date survey published in recent years. Wood proposes performance not as a genre of art separate from object-making but as an attitude that has infiltrated the entire terrain of contemporary art. From the musical-theatricals of Marvin-Gaye Chetwynd to the public encounters created by Tino Seghal and the social activism of Tania Bruguera, a hugely divergent set of practices has emerged in the past twenty to thirty years which embrace the worlds of sculpture and painting, spectacle and protest. Examining in turn individual, social and object-based approaches in the field, Wood first examines the influential performance art of the 1960s to 1980s: the body art of the Viennese actionists; the raw performances of Yoko Ono and Chris Burden; and the experiments of the Japanese Gutai group among others. She then explores how these sources have been revisited, reformed or rejected by contemporary artists in the twenty-first century. This impressive book encompasses international artists who fall outside the traditional European and North American focus, giving the reader the broadest and most up-to-date insight into the subject yet published.

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Book SynopsisThe definitive guide to the life and work of Marina Abramovic, the world's most famous performance artist. Combining brand-new interviews, never-before-seen images and fascinating ephemera, this book is a testament to the extraordinary life and work of one of our most courageous and groundbreaking artists, and is published to coincide with the opening of Abramovic's Royal Academy exhibition - the first major show by a female artist in the Academy's 255-year history. Agreeing to answer any question that was posed, Abramovic embarked on 17 months of candid interviews conducted by her friend and confidante, Katya Tylevich. The result is a monolithic retrospective that takes us from the humble beginnings of a shy child sitting at the back of the class, to fearless pioneer, conquering and subverting the art world with boundary-pushing performances, and concluding with her most profound personal experience to date. Over 600 images from Abramovic's personal archives set these captivating memories alight, creating a fascinating, visual landscape and demonstrating the inextricably intertwined nature of her life and work. A breathtakingly intimate journey, we are led across deserts, oceans and cities to explore extreme highs and lows, all the while marvelling at how Abramovic approaches every success and setback with her signature humour and wit. Never shying away from the truth, no stone is left unturned, and Abramovic's fearlessness imbues every page.

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Book SynopsisA unique, boxed set of 30 instruction cards by Marina Abramovic to teach you this legend of performance art's method for reaching a higher consciousness and confronting life's challenges.Using exercises Marina Abramovic has developed for herself to prepare for her incredible performance works, the Method will help you focus, reconnect with the present, and locate your highest creative potential.

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Book SynopsisThis original and unique new book takes an integrated approach to interrogating the experience and location of the self/s within the context of performance art practice. In its framing and execution of practical exercises and focused snapshots of internationally recognized performance practice, Bacon situates their argument within the boundaries of specialism in the critical curation of performance art praxis as well as contemporary phenomenological scholarship. Introducing the study and application of performance art through phenomenology for radical artists, educators and practitioner-researchers; this exciting new book invites readers to take part, explore contemporary performance art and activate their own practices. Applying a queer phenomenology to unpack the importance of a multiplicity of Self/s, the book guides readers to be academically rigorous when capturing embodied experiences, featuring exercises to activate their practices and clear introductory definitions to key phenomenological terms. Includes interviews and insights from some of the best examples of transgressive performance art practice of this century help to help unpack the application of phenomenology as Bacon calls for a queer reimagining of Heidegger’s ‘The Origin of the Work of Art.’ This is an important contribution to the field, and will be welcomed by performance artists and academics interested in performance. It may also appeal to those teaching concepts of phenomenology. It will be relevant to students of performance as well as to artists, audiences and museum goers. The approachable layout and clear authorial voice will add to the appeal for students, early career researchers and mean that it has strong potential for inclusion in undergraduate and postgraduate syllabi within the field. Table of ContentsAcknowledgements Foreword: Enduring Reorientations: Self, Time, and Space in Performance Author’s Note Introduction - Phenomenology - Eidetic Reduction - Self - Dasein Section One: Embodied Experience - Exercise 1 - Flesh - Gestalt - Exercise 2 Identity, Sexuality, and Gender - Exercise 3 Lori Baldwin Anne Bean - Intersubjectivity - Intercorporeality Rosana Cade and Will Dickie - Korper and Leib - World and Being Esther Marveta Neff - Reciprocity Niko Wearden - Mineness - Exercise 4 Cultural Contexts - Fundierung - Exercise 5 Jamal Harewood - Exercise 6 Regina José Galindo Health and Dis/Ability - Exercise 7 Katherine Araniello Kamil Guenatri - Givenness Section Two: The Rapture and Rupture of the Lived Body - Cartesianism - Exercise 8 Rapture - Exercise 9 Rocio Boliver Louis Fleischauer Weeks and Whitford - Befindlichkeit Rupture - Alētheia Hellen Burrough Arianna Ferrari - Exercise 10 Ernst Fischer - Exercise 11 Section Three: The Intersubjectivity and Intercorporeality of Noise and Sonic Arts - Exercise 12 Sound through the Body Sarah Glass Joke Lanz - Punctum - Mother Disorder Sound through Collaboration FK Alexander Clive Henry and Yol - Exercise 13 Section Four: The Perception of Self/s - Exercise 14 Vulnerability - Exercise 15 Helena Goldwater Natalie Ramus Helen Spackman Failure - Exercise 16 Chelsea Coon Selina Bonelli Heather Sincavage - Augenblick - Exercise 17 (Part 1 of 2) - Exercise 17 (Part 2 of 2) Extremis - Exercise 18 tjb Hancock and Kelly Niko Raes - Exercise 19 Postface: The Argument for Queering ‘The Origin of the Work of Art’ - Manifesto for Performance Artist as Artwork Notes Bibliography

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Book SynopsisWhat is artistic resonance and how can it be linked to one''s life and one''s art? This latest book of essays from legendary theatre director Anne Bogart, considers the creation of resonance in the artistic endeavour, with a focus on the performing arts. The word ''resonance'' comes from the Latin meaning to ''re-sound'' or ''sound together''. From music to physics, resonance is a common thread that evokes a response and, in general, is understood as a quality that makes something personally meaningful and valuable.For Bogart, curiosity is a key personal quality to be nurtured throughout life and that very same curiosity, as an artist, thinker and human being. Creating pathways between performance theory, art history, neuroscience, music, architecture and the visual arts, and consistently forging new thought-paths, the writing draws upon Anne Bogart''s own life and artistic journeys to illuminate potent philosophical ideas. Woven with personal anecdotes, stories and reflections,Trade ReviewThis optimistic and brilliantly erudite book is essential reading for any serious theatre maker emerging from the pandemic in search of a new road map for theatre practice. Beautiful, fierce and inspiring - a love letter to the future. * Katie Mitchell, director *

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Book SynopsisSkip Mort has had a life-long interest and involvement in stage lighting and is a regular contributor to the Teaching Drama magazine. He is an associate member of the Association of British Theatre Technicians and a life member of The Theatres Trust. Skip Mort trained at the Bristol Old Vic Theatre School and has worked as an educational consultant, writer, lighting designer, teacher and college lecturer.Trade ReviewImpressive, on-the-job reference tool ... Its user friendly, well-illustrated and tabulated formats gives it the potential to be a strong source of practical information for arts students of all levels. 5* * Teaching Drama on the first edition *This has to be one of the most comprehensive books on the subject of stage lighting that I have ever seen. It's written for post 16 students who are studying stage lighting as well as entrants to higher education specialist courses, but it is also invaluable to the amateur theatre market... This is an absolute must for every amateur theatre group that lights their own productions. * Amdram on the 1st edition *I am sure it will become standard reading in theatre schools. * Michael Goldberg, Sales & Marketing Director, Phillips Entertainment on the 1st edition *Well presented both in content and technical quality of the material * Sightline: Journal of Theatre Technology and Design *Table of ContentsPart One - Lighting Technician Lanterns, Dimmers & Control Colour, Gobos & Effects Part Two - Lighting Designer Lighting a Performance Space Lighting Design Part Three - Lighting Resources Online Video Resources Technical info. Websites Key notes!

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Book SynopsisFrancesca Granata is Associate Professor in the School of Art and Design History and Theory at Parsons the New School for Design, New York. She is the editor and founder of the journal Fashion Projects. Her work has appeared in Fashion Theory, Fashion Practice, and The Journal of Design History, The Atlantic as well as in a number of books and exhibition catalogues.Trade ReviewThis is a timely book in that many of the concepts discussed resonate strongly with the current cultural context: gynophobia and fear of the fat feminine body; neoliberalism, corporate greed and the "enterprising self"; and fear of border crossings and the breakdown of cultural categories. * Morna Laing, "Fashion Theory: The Journal of Dress, Body and Culture" *The strengths of this book are two-fold, both reframing Bakhtin's theory of the Grotesque body as a tool for the analysis of fashion and also its ability to theorize the very edges of fashion [...] [I]n doing so, Granata does both fashion studies and design history a great service. * Ellen Sampson, "The Journal of Design History" *A very welcome contribution to the field of fashion studies, not least through its attention to an aspect of fashion—experimental fashion—that has so far been given little attention. * Agnès Rocamora, Reader in Social and Cultural Studies at London College of Fashion, University of the Arts, London and author of "Fashioning the City" *[H]er work begins to bridge a gap in literature concerned with the intersections of fashion practice and performance art. [...] While Granata's work is both methodologically and theoretically complex it is presented with absolute clarity and this level of accessibility is highly commendable. * Fenella Hitchcock, "Costume: The Journal of The Costume Society" *Granata continually reconsiders the grotesque within the contexts of different fields of both culture and academe. Borrowing from psychoanalysis, feminist theory, performance and film studies, she creates a vivid narrative that inspects grotesque corporealities in a variety of cultural forms through meticulous analysis of primary sources. * Jana Melkumova-Reynolds, "International Journal of Fashion Studies" *Table of ContentsList of Illustrations Acknowledgments Introduction Chapter 1 Against Power Dressing: Georgina Godley Chapter 2 Fashioning the Maternal Body: Rei Kawakubo Chapter 3 Performing Pregnancy: Leigh Bowery Chapter 4 Deconstruction and the Grotesque: Martin Margiela Chapter 5 Carnivalized Time: Martin Margiela Chapter 6 Carnival Iconography: Bernhard Willhelm Chapter 7 Fashion and Performance: Lady Gaga Conclusion Appendix Bibliography Index

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Book SynopsisA retrospective monograph of Alistair MacLennan’s performance art practice, its influence on the Belfast art scene, and its relationships with wider art histories. This new book is the most comprehensive and complete legacy monograph about Alastair MacLennan’s extensive performance practice Alastair MacLennan is emeritus professor of fine art, School of Art and Design, Ulster University in Belfast. He is one of Britain’s major practitioners in live art, and travels extensively in Eastern and Western Europe, also America and Canada, presenting ‘Actuations’ (his term for performance/installations). MacLennan is a founding member of Belfast's Art and Research Exchange, of Belfast's Bbeyond performance collective and is a member of the performance art entity Black Market International. He has represented Ireland at the Venice Biennale (1997) and is an honorary associate of the National Review of Live Art, Glasgow, Scotland. There is a wide variety of approach in the essays, ranging from descriptive to interpretive. Some set the work in historical context and others provide pertinent biography. This variety is appropriate – and perhaps even necessary – in looking at the work of a living artist whose work is particularly complex. The selection of essays presents a complex body of work in an understandable way, with each writer allowed to address the art in their own terms. Placing the work in historical context is important but presenting MacLennan as an influential teacher is also important. Includes a significant contribution from Adrian Heathfield (professor of performance and visual culture at Roehampton, UK) who has written an extended essay on MacLennan’s oeuvre, focusing on its use of materials and its creation of sculptural environments. Discussing the artist’s deployment of slow-time action and contemplative space, Heathfield sees MacLennan’s work as activating sustained contact with the elemental and locates MacLennan’s work as a significant intervention in performance art history globally and discusses the politics of its engagement with local history, violence, social conflict and memory. The primary readership will be academics, researchers and scholars working in performance art and contemporary art in general. Also valuable to students in performance art, visual arts and related practices. Of relevance to academics and artists in the interrelated fields of performance art, art and philosophy, critical theory, conflict studies and Zen philosophy.Table of ContentsList of Illustrations Introduction: Actional Poetics – ASH SHE HE: The Performance Actuations of Alastair MacLennan, 1971–2018 Sandra Johnston and Paula Blair Alastair MacLennan: Troubled time Nick Stewart ‘Maybe you don’t need the paintbrush…?’ In conversation Declan McGonagle and Alastair MacLennan Elemental qualities in the work of Alastair MacLennan Denys Blacker Sensible transcendence Chérie Driver Alastair MacLennan: A life seen as a form of pedagogy Brian Connolly ‘Sometimes you need help from other people’s ghosts’: Alastair MacLennan’s multi-disciplinary and ‘instituting’ practice as civil action Christa-Maria Lerm Hayes Alastair MacLennan: Universal nomad Nigel Rolfe Actuations: Alastair MacLennan’s influence on Bbeyond Brian Patterson Tender dwelling in the strewn Adrian Heathfield What shall we ask for? Considering the transformative moment in Alastair MacLennan’s Actuations Sandra Johnston Death, transience and duration – Alastair MacLennan Helge Meyer Proximity and perpetrators: Reflecting on implications of registering perpetrators in the performance art of Alastair MacLennan Dominic Thorpe Triple-AAA: Alastair MacLennan, Adrian Hall & André Stitt Spectral Arc, Vanishing Point and Memoranda: Hauntology and atemporality in performances 2011–13 André Stitt Precarious aftermaths Paula Blair Notes on Contributors

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Book SynopsisThe Routledge Companion to Choreomusicology: Dialogues in Music and Dance is a distinguished collection of essays by leading scholars presenting research that redefines and rethinks the question of what dance and music are, together and apart, and which promotes new ideas and voices in the discipline.Focusing on matters historical, critical, and conceptual, and defining dance-music interactions from the era of aristocratic court dance to the present, the book covers a wide range of topics, including dance and music performance practice, queer studies, colonialism and exoticism, disability studies, the âœreparativeâ humanities, and film. The volume is organized into two sections: Part 1 examines theoretical and conceptual issues, including theories of embodiment, musicality, and dance aesthetics, with examples including contemporary ballet, the role of the conductor, and even fountains in Las Vegas. In Part 2, contributors consider choreomusicology as a historical disci

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Book SynopsisIn this volume, theorist and sound artist Micah Silver addresses the impact of sound on human behavior and social space. Silver’s research ranges from Yves Klein’s Air Architecture to La Monte Young’s Dream House, and culminates in a discussion of historically significant sound systems, from discos, Monterey and Woodstock to the GRM studio, and their physical and experiential impacts, such as the Grateful Dead’s famous Wall of Sound custom PA. Disambiguating sound from audio, Silver defines sound as “the domain of physics” in order to examine its phenomenology in the world, and audio as a process “that employs technology to construct temporary social architectures made of air.” Micah Silver is an artist and curator who studied music at Wesleyan and in MIT’s Art, Culture, and Technology program. His installation and performance work has been produced by Mass MoCA, ISSUE Project Room, Palais de Tokyo in Paris and OK Zentrum, among other venues in the US and internationally.

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Book SynopsisA new edition of the essential chronicle of disco culture In 1973, Vince Aletti became the first person to write about the emerging disco scene. His engagement with disco nightlife continued throughout the decade as he wrote his weekly column for Record World magazine, which incorporated top ten playlists from DJs across the US (such as Larry Levan, Larry Sanders, Walter Gibbons, Tee Scott and Nicky Siano) alongside Aletti's own writings and interviews. As disco grew from an underground secret to a billion-dollar industry, Aletti was there to document it, and The Disco Files is his personal memoir of those days, containing everything he wrote on the subject (most of it between 1974 and1978) augmented with photography by Peter Hujar and Toby Old. This book is the definitive and essential chronicle of disco, true from-the-trenches reporting that details, week by week, the evolution of the clubs, the DJs, and above all, the music, through magazine articles, beautiful photographs, hundreds of club charts and thousands of record reviews. Photocopies of Aletti's Record World columns circulated for years among DJs and music lovers, until they were finally collected in 2009 into the first edition of The Disco Files, an instant classic that quickly sold out. This new edition of The Disco Files brings Aletti's compulsively readable disco writing back into print, adding an interview with Fran Lebowitz originally published in the Village Voice in 1990. Throughout his career, curator, writer and critic Vince Aletti (born 1945) has been at the forefront of music, culture and the arts. He wrote for Record World and Rolling Stone and covered the club scene in the late 1970s and 1980s for the Village Voice, where he would serve as art editor until 2005. In addition to curating numerous photography exhibitions, Aletti writes about photography for the New Yorker.Trade ReviewAletti’s book offers a different version of the disco experience, one that is premised not on mythically great nights out but on conversation and careful study of one’s record collection. -- Hua Hsu * New Yorker *Vince Aletti is disco's greatest chronicler, the first writer to cover the emerging scene. * Paris Review *Aletti became the first person to write about the emerging disco scene, chronicling its rise from the underground to the top of the charts, introducing Black and Latinx gay culture to the world. In his weekly column for Record World magazine, Aletti showcased the latest breaking records, top ten playlists from DJs like Larry Levan, Walter Gibbons, and Nicky Siano, scoops and reviews. -- Sara Rosen * AnOther Man Magazine *[Aletti's] firsthand account of New York's halcyon days of disco is totally groovy. -- Nell Beram * L'Officiel *A first-rate disco first-responder, he has catholic tastes, boundless curiosity, and a genial voice. -- Melissa Anderson * Bookforum *

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Book SynopsisWith mental health increasingly in the spotlight, this book offers a new perspective on anxiety. The focus of this book is on the application of psychological alchemical practice to address, explore and examine the nature and cause of anxiety in order to tackle and overcome it. It has never been more relevant to illustrate the reality that scientific, artistic and spiritual understanding, together with practical application, has the capacity to eliminate anxiety and gain personal control, liberation and fulfilment. The first half of the book identifies the issues to be considered and the second half explains and illustrates the alchemical practices with which to approach them. While the book puts a slight emphasis on musical performance, it is made clear at the outset that performance concerns everyone and the contents, therefore, apply universally. Music is simply a very clear example. The book is designed as a personal development book rather than a scholarly work and, although it is relevant to all ages (depending on timing), it was written with 18 – 30 year olds being the main inspiration through apparent and ever increasing necessity. It is a source book that can be dipped into anywhere or launch further investigation into any of the various disciplines and practices covered. Alchemy has the capacity to bind it all together and the alchemy of performance can become a way of life for anyone.

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Book SynopsisWinner of 2019 British Book Design & Production Award for Scholarly, Academic & Reference BooksThis beautiful book charts the development of the circus as an art form around the world, from antiquity to the present day.Using over 200 circus related artworks from the French National Library's private collections, celebrated cultural historian Pascal Jacob tells the story of travelling entertainers and their art and trade. From nomadic animal tamers of the Dark Ages to European jugglers and acrobats of the 1800s, from the use of the circus as Soviet propaganda to the 20th-century Chinese performance art renaissance, this is an exhaustive history with a uniquely international scope.Jacob draws on both rare and famous artworks, including prints dating from the 13th century, and paintings by Picasso and Doré. In doing so he demonstrates the circus to be a visual and physical masterpiece, constantly moving and evolving, and just as exciting an experience for audiences now as it was 1,Trade ReviewLike the circus, this magnificent volume offers a cavalcade of color and dynamism, dizzying the eye with photographs, posters, and reproductions of ephemera from the “living spectacle.” Drawing heavily on the holdings at the French National Library, Jacob—a circus scholar, historian, and director—contextualizes the stunning kaleidoscope of images, many of which have never been previously published, with an accessible overview of circus development ... Ideal for both scholars and aficionados of the circus, as well as those looking for a vibrant, engaging introduction to the form, this text moves from the circus's origins through its integrations with equestrian forms, to its triumph as a major mode of entertainment in the 1800s. Twentieth-century excursions include the Soviet circus, Chinese performers, Fellini’s fascination with circus through cinema, and circus arts schools of today ... [This] brilliant volume (rendered at times poetic by Augusta Dörr’s translation from French) will be appreciated by all, regardless of their background. Summing Up: Highly recommended. All readers. * CHOICE *The book is a wonderful romp through to the present day, richly illustrated with artworks, photographs, prints and posters, showing how this very particular form of entertainment continues to evolve. * Evening Standard *The Circus: A Visual History is 'one to watch' in August 2018 * The Guardian *The book is a beautiful object, brimming with archive images from the Bibliothèque nationale, it paints a world drenched in colours and filled with flying trapezes, leaping tigers and sumptuous costumes. Jacob's choice of illustrations proves that circus is above everything a visual art that constantly draws on tradition to reinvent itself... the book is a stunning and essential visual resource for anyone interested in the evolution of Western circus. * Times Literary Supplement *A distinguished circus promoter and cultural historian, Jacob has donated his vast private collection to the French National Library. Most of the illustrations in this beautiful book — vibrant posters, architectural drawings of circus buildings and group photographic portraits of performers — come from there ... [Jacob] herds his facts like a ringmaster in a series of fabulous stories loosely held together by the arresting and colourful images. * The Spectator *Spectators seated in circles stare up at trapeze artists who, as Pascal Jacob puts it in his new book, The Circus: A Visual History, re-enact the mythical flight of Icarus and hope to demonstrate that grounded human beings can enjoy the aerodynamic privileges of the gods. * The Observer *Stunning circus sights: Tom King recommend a visual history of one of the oldest forms of entertainment… a hefty and vibrant collection of images depicting the age-old spectacle… Immediately apparent in Jacob’s book is that the circus has been infinitely adaptable, with space in its cavernous tent for an endless variety of people. * The Morning Star *This book tells the story of both traditions, and it does so in impressive detail and with an infectious sense of fun. Examples tumble over each other like acrobats; big ideas are paraded around like elephants. * V&A Magazine *A rich, visual feast of archival wonders. Prepare to be amazed by this impressive performance history. * National Fairground and Circus Archive *The book has a 'mosaic effect', which Jacob also identifies as the defining trait of a circus performance. He herds his facts like a ringmaster in a series of fabulous stories loosely held together by the arresting and colourful images. * Oldie Magazine *An important and compelling tale of the international history of the circus, full of enchanting images and wonderful stories. * Professor Vanessa Toulmin, University of Sheffield, UK *With circus arts thriving and evolving internationally, the English-language publication of Jacob’s magnificent, authoritative survey is cause for celebration. * Dr Rolf Hughes, Newcastle University, UK *This book tells the story of both traditions [permanent and travelling circuses], and it does so in impressive detail and with an infectious sense of fun... [Jacob offers] an evocative account of a popular art form that has an unmatched ability to snag in our senses. * Robert Douglas-Fairhurst, Professor of English Literature at Magdalen College, University of Oxford, UK *Are you looking for a Christmas present for yourself or a loved one? Look no further... it is without doubt one of the best of the new publications worldwide to celebrate [the 250th anniversary of the modern circus]. The author... is a renowned circus expert, famous for his collaborative work with the Big Apple Circus of New York, the mighty Ringling Bros, Barnum and Bailey Circus and the French circus company Cirque Phenix... the book is printed on fine paper with exemplary hard overs and its 240 pages are jam-packed with circus history from around the world, along with a wealth of over 200 fine illustrations... Visually it is a sheer delight, and Augusta Dorr's translation into English from the original French is excellent... This is a formidable volume, well-worthy of your Christmas stocking wishlist. * Don Stacey, King Pole magazine (December 2018) *The magic of the circus is captured in this stunning book, along with its evolution from the 13th century to present day Cultural historian Pascal Jacob has plundered the French National Library's archives to collate more than 200 artworks which chart a story of travelling entertainers, jugglers, acrobats, nomadic animal tamers and the iconic clown. The result is a visual feast you'll return to again and again. -- Katie Ekberg * The Australian Women's Weekly *Table of ContentsForeword by Marius Kwint ORIGINS: ANTIQUITY - 1770 THE GRAND HIGHWAY A Day at the Circus The Foundations of the 'Grande Banque d’Occident' Jugglers, Entertainers and Acrobats Priests, Gypsies, Merchants: Travellers’ Tales Fairs, Construction Sites and Rostrums: The First Performance Venues Preparing the Ground and Codes for Western Acrobatics IMPACT AND DOMINATION: 1770-1880 THE WEST CONQUERS THE WORLD It All Began with a Circle Families and Troupes: The Great Dynastic Ventures The Franconi Dynasty A Huge Building Site: The Circus Joins the City Equestrians Triumph Throughout Europe Pauline Cuzent Pantomimes and the Emergence of Narrative in the Circus Circus Bodies: The Advent of Spectacular Gymnastics Jules Léotard Whiteface and Auguste Clowns Foottit and Chocolat CHANGES:1880-1930 OF MEN AND BEASTS Exoticism, Wild Beasts and Splendour, German-Style Hans Stosch-Sarrasini Men and Beasts Claire Héliot Setting a System for Mobility: The Big Top America, America The Towering Figure of America and its Influence in Europe Phineas Taylor Barnum “Monsieur Loyal”: The Spoken Word Enters the Circus Roger Lanzac INFLUENCES: 1930-2015 THE BIG PLUNGE The Soviet Circus: State Circus and Vehicle for Propaganda Margarita Nazarova Karandash The Chinese Acrobatic Theatre: a Renaissance Xia Ju Hua The End of a World: The American Circus in Turmoil John Ringling North The Circo Fellini: A Fresh Perspective on the Ring, In Italy and Elsewhere The Revival of the Circus Arts in France, Quebec and Belgium Annie Fratellini FINALE: A Circus for Today and Tomorrow Glossary Bibliography Index of Names

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Book SynopsisSound provides a lively and engaging overview of relevant critical theory for students and researchers in theatre and performance studies. Addressing sound across history and through progressive developments in relevant technologies, the volume opens up the study of theatrical production and live performance to understand conceptual and pragmatic concerns about the sonic. By way of developed case studies (including Aristophanes's The Frogs, Shakespeare's The Tempest, Cocteau's The Human Voice, and Rimini Protokoll's Situation Rooms), readers can explore new methodologies and approaches for their own work on sound as a performance component. In an engagement with the burgeoning interdisciplinary field of sound studies, this book samples exciting new thinking relevant to theatre and performance studies.Part of the Theory for Theatre Studies series which introduces core theoretical concepts that underpin the discipline, Sound provides a Trade ReviewThis book presents an important analysis of the fundamental function of sound in theatre, from the acoustic expanses of Ancient Greek architecture, to the personal-political spaces of contemporary Headphone theatre. The breadth of knowledge and new insights afforded by the book are a breath of fresh air for researchers and students alike in a field which is often treated as a sub-category of other disciplines. Bennett draws on a wide range of theory and philosophy to demonstrate how sound has played a much more significant role in playtexts, production and perception than traditional theatre studies scholarship has hitherto considered, and puts forward a politics of theatre sound and its potential to perform difference through acoustic experience and ethical listening. -- Lynne Kendrick, The Royal Central School of Speech and Drama, University of London, UKThis is an indispensable new resource for theatre students, scholars and makers. It takes readers on an engaging and thoughtful journey through the constantly evolving role of sound in theatre studies. Starting with ‘Classical Sound’ the volume considers experiences of listening, of producing sound and of being immersed in sonic environments. In the process it explores the philosophical, political, ethical and technological roles of sound from Aristotle to the 21st century. What is most impressive about this volume, however, is the nuanced way it draws together key theoretical, critical and aesthetic ideas to provide the reader with a clear sense of how these operate to shape both what they hear and do not hear within and in response to the theatre. This is a timely, valuable and thoughtfully written book that will be of great utility for all those interested in theatre, sound studies and in the acts of producing theatre, of listening and of understanding what they hear. -- Helena Grehan, Professor of Theatre and Drama Studies, Murdoch University, AustraliaTable of ContentsAcknowledgements Series Preface SOUND: An Introduction SECTION ONE: Classical Sound Theatres in Ancient Greece and Aristotle’s Poetics The vocal map of ancient Greek drama Case study: Aristophanes’s The Frogs Vitruvius on acoustics: De Architectura Shakespeare’s Globe and Francis Bacon’s Sylva Sylvarum Acoustic world-making on the early modern stage Case study: Shakespeare’s The Tempest A sonic imagination of early modern London SECTION TWO: Avant-garde Sound New technologies for sound performance Case study: Luigi Russolo’s intonamuri and ‘The Art of Noise’ Hanging on the telephone: Sigmund Freud and Roland Barthes Case study: Jean Cocteau’s The Human Voice The sounds of silence: John Cage’s future of music Acousmatics and radiophonics: Pierre Schaffer and the BBC Aura and archive: making sound memories Case study: Samuel Beckett’s Krapp’s Last Tape SECTION THREE: Experiential Sound Prosthetic performance and deterritorialised listening Case study: Janet Cardiff’s sound walks Listening to women: Andrea Hornick and Luce Irigaray Affective theatres of embodied sound Case study: Shannon Yee’s Reassembled, Slightly Askew Case study: Rimini Protokoll’s Situation Rooms Coda: sound across the world References Further Reading Index

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Book SynopsisBy giving voice to these women and men, thisbook honours the diversity of maternities, andvalidates new academic and creative methods infiguring herstory as a patchwork intersection ofvoices across and through time simultaneouslyacknowledging difference and diversity as well ascommonality. 32 b&w illus.

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Book SynopsisA close-up history of the Yugoslav artists who broke down the boundaries between public and private In the decades leading up to the dissolution of socialist Yugoslavia, a collective of young artists based in Zagreb took to using the city’s public spaces as a platform for radical individual expression. This Is Not My World presents a detailed account of the Group of Six Authors and their circle in the prolific and experimental period from 1975 to 1985, highlighting the friction between public and private that underlied their innovative practices. Looking to circumvent the rigid bureaucracy of official art institutions, this freewheeling group of conceptual artists and their peers brought artistic activities directly to an unwitting public by staging provocative performances, exhibiting artworks, and interacting with passersby on the streets. Exploring artworks such as Vlasta Delimar’s act of tying herself to a tree in a busy pedestrian area, Željko Jerman’s production of a giant banner declaring “Intimate Inscription” in the city’s central square, and Vlado Martek’s creation of an artwork on a seaside beach using women’s underwear, Adair Rounthwaite examines the work of these artists as a site of tension between the intimacy of artistic expression and the political structure of the public sphere under state socialism. Whereas many histories of modern and contemporary art in formerly socialist countries tend to be dominated by discussions of ideology and resistance, This Is Not My World focuses its attention on the affective aspects of the group’s activities, using artist interviews and extensive documentation to bring the reader closer to the felt experience of their public interventions. Situating the group’s work within the context of broader developments in conceptualism and theories of the avant-garde, Rounthwaite provides a fresh consideration and newly detailed account of this marginalized episode in global art history. Trade Review "This Is Not My World is a highly original take on the Zagreb experimental art scene of the 1970s. While studiously situating the practices of the Group of Six Authors in their cultural–political context, Adair Rounthwaite’s remarkable achievement is to simultaneously snatch them away from this context and open them up to concepts and readings that make them relevant beyond the frameworks of Yugoslav and East European art history."—Ivana Bago, independent scholar "This Is Not My World is not just a detailed account of the work of the Group of Six Authors but a response to it. As experimental in its scholarship as its subjects were in their artmaking, this book is poised to make an important critical and methodological intervention in the recent turn toward ‘global’ art histories."—Branislav Jakovljević, author of Alienation Effects: Performance and Self-Management in Yugoslavia, 1945–91

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Book SynopsisHow do the temporal features of sacred music affect social life in South Asia? Due to new time constraints in commercial contexts, devotional musicians in Bengal have adapted longstanding features of musical time linked with religious practice to promote their own musical careers. The Politics of Musical Time traces a lineage of singers performing a Hindu devotional song known as kirtan in the Bengal region of India over the past century to demonstrate the shifting meanings and practices of devotional performance. Focusing on padabali kirtan, a type of devotional sung poetry that uses long-duration forms and combines song and storytelling, Eben Graves examines how expressions of religious affect and political belonging linked with the genre become strained in contemporary, shortened performance time frames. To illustrate the political economy of performance in South Asia, Graves also explores how religious performances and texts interact with issues of nationalism, gender, and economTrade ReviewScholarship has established that arts exist through complex networks with historical time; aesthetic forms have distinctive rhythmic-temporal lives; and devotional meditations are based on diurnal, mythical and other time-based imaginings. Yet, The Politics of Musical Time brings these dimensions together in a most original manner, throwing sharp analytical light on synchronic and diachronic relations between musical and social temporalities in Bengal. It does so by analyzing the materiality of sonic time as a highly nuanced expansion of relations between affect and economy, meaning and rhythm, the past and the contemporary, devotion and context, and aesthetics and everyday life. It is a unique and significant contribution to studies of South Asian religions, aesthetics, and historical and contemporary time. -- Sukanya Sarbadhikary, author of The Place of Devotion: Siting and Experiencing Divinity in Bengal-VaishnavismTable of ContentsAccessing Audiovisual MaterialsAcknowledgmentsNotes on Spelling and TransliterationNotes on Representing Musical SoundNotes on Dating SystemsIntroduction: Kīrtan's Influence Derives from TimePart I: Genealogies of Kīrtan1. Temporality and Devotional Performance in Bengal2. The Seeds of Kīrtan: Histories and Imaginaries of Devotional Song in Early Modern Bengal3. Devotional Song Arrives in the City: Histories of Patronage and Images of the Devout Musician in the Colonial Period4. Institutional Pasts and Professional Futures: Temporalities of Instruction and Performance in Contemporary West BengalPart II: The Devotional Aesthetics of Musical Expansion5. Word-Pictures: Expansions of Mood and Meaning in Kīrtan Song Texts6. Sonic Synchronies of Tāl Theory7. The Divine Play of the Tax Collector: Musical Expansion, Embodied Response, and Didactic Storytelling in a Līlā KīrtanPart III: The Shrinking Markets for Expanding Songs8. The Marketplace of Music Festivals: Modern Social Time and Musical Labor9. Media Markets: Visualization and the Abstraction of Musical Time10. Conclusion: Kīrtan OnlineGlossaryBibliographyIndex

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Book Synopsis*SHORTLISTED FOR THE RSL CHRISTOPHER BLAND PRIZE 2023**SHORTLISTED FOR THE POLARI FIRST BOOK PRIZE 2023*''I read the book in one go. I laughed and cried like a baby, and was transported back to a time of innocence, clouded by the enormity of the harsh reality . . . Just amazing'' CATHERINE ZETA JONES''As it happens, I was also a Jill in the eighties - but not half as good a Jill as real Jill'' DAWN FRENCH''Jill met the crisis head on . . . She held the hands of so many men. She lost them, and remembered them, and somehow kept going'' RUSSELL T DAVIESA heartbreaking, life-affirming memoir of love, loss and cabaret through the AIDS crisis, from IT''S A SIN''s Jill NalderWhen Jill Nalder arrived at drama school in London in the early 1980s, she was ready for her life to begin. With her band of best friends - of which many were young, talented gay men with big dreams of their own - she grabbed London Trade ReviewI could not put [Jill's] book down. She guides us through her career and her life, and what leaps off the page is her strength, her compassion and her unswerving loyalty to people who were sometimes afraid to live their real lives. I am so pleased that Jill has had the chance to tell her story. We should all 'Be More Jill' -- Lesley Joseph, actor and broadcasterA beautiful, raw, tender book remembering friendships in the eye of the storm -- Russell T Davies, creator of Channel 4's IT'S A SINAs it happens, I was also a Jill in the eighties - but not half as good a Jill as real Jill * Dawn French *Engrossing, heart-breaking and inspiring, this is the perfect companion piece to IT'S A SIN * MATT CAIN, author of THE SECRET LIFE OF ALBERT ENTWISTLE *Took me right back. [Jill has] brought it all to life. A wonderful, wonderful work . . . Thank God for people like [Jill] who got up, stood up and said, "We need to do something about this." . . . I cannot recommend this book highly enough. Obviously very sad, but bloody funny as well! -- Michael BallLove From the Pink Palace is a beautiful yet emotional rollercoaster... Jill writes with ease, this makes it surprising this is her first book. Each chapter is filled with light and dark. They appear so close to each other that you go from crying to full-on belly laughing. * Richard Angell, Campaigns Director - Terrence Higgins Trust *

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Book SynopsisThe first book to chart Scott Burton's performance art and sculpture of the 1970s. Scott Burton (193989) created performance art and sculpture that drew on queer experience and the sexual cultures that flourished in New York City in the 1970s. David J. Getsy argues that Burton looked to body language and queer behavior in public spacemost importantly, street cruisingas foundations for rethinking the audiences and possibilities of art. This first book on the artist examines Burton's underacknowledged contributions to performance art and how he made queer life central in them. Extending his performances about cruising, sexual signaling, and power dynamics throughout the decade, Burton also came to create functional sculptures that covertly signaled queerness by hiding in plain sight as furniture waiting to be used. With research drawing from multiple archives and numerous interviews, Getsy charts Burton's deep engagements with postminimalism, performance, feminism, behavioral psychTrade Review"Queer Behavior . . . seek[s] to inject art objects, sculptures, and performances that we might not necessarily consider as heavy with queer politics, with a queer aesthetic that moves beyond the surfaces of identity and identity politics." * Art History *“Building on unprecedented research, Queer Behavior is the first substantial study of Scott Burton’s anti-hierarchical, eclectic, desire-oriented art of the 1970s. Getsy has written a masterful work—rigorous, encyclopedic, sympathetic, and inspired—toward a loving recuperation of an artist whose work has at times been eclipsed in histories of art and performance. Argument-driven and lushly narrated, Getsy’s writing hybridizes close analysis, critical biography, cultural history, and art historiography. The resulting book is unyieldingly good, at times breathtakingly so.” -- Dominic Johnson, author of Unlimited Action: The Performance of Extremity in the 1970s“Getsy’s long-awaited, meticulously researched volume reads like a novel. I thoroughly enjoyed it as scholarship, history, ‘deep gossip,’ and prose. He has marshaled craft and discipline to produce an accessible, nuanced, and compelling account of Burton’s unconventional and uniquely queer development. It’s a tremendously important, insightful, and lucid contribution to the field. This book is necessary reading for performance art scholars and anybody—everybody—who needs a road map to navigate the constant challenges that lonely creatives face against the pressures of prejudice and conformity.” -- Gregg Bordowitz, author of General Idea: Imagevirus, Glenn Ligon: Untitled I Am a Man, and Some Styles of Masculinity“Getsy offers a rigorously researched and beautifully rendered account of Burton’s performance practice, focusing on the lesser-known arc of Burton’s work from the 1970’s and, in the process, establishing its importance for both the art historical record and for histories of queer life. This is a substantial contribution to our knowledge of performance art, queer performance, and the performance scene of 1970’s New York.” -- Joshua Chambers-Letson, author of After the Party: A Manifesto for Queer of Color LifeArt historian and curator David Getsy has been observing how abstraction lends itself to often less obvious—though no less potent—ways of communicating aspects of queer experience and embodiment... Getsy asks the public and its institutions to grasp new alternatives that embrace multiplicity. “I’m interested in understanding that gender is as transformable as it is multiple, not limited to static options, and this implicates everything and everyone in a different way.” * ArtNet *Table of ContentsAcknowledgments Introduction: Scott Burton’s Queer Postminimalism Street and Stage: Early Experiments 1. Imitate Ordinary Life: Self-Works, Literalist Theater, and Being Otherwise in Public, 1969–70 2. Languages of the Body: Theatrical, Feminist, and Scientific Foundations, 1970–71 Performance and Its Uses 3. The Emotional Nature of the Number of Inches between Them: Behavior Tableaux, 1972–80 4. Acting Out: Queer Reactions and Reveals, 1973–76 5. Pragmatic Structures: Sculpture and the Performance of Furniture, 1972–79 Conclusion: Homocentric and Demotic Appendix: List of Performances and Additional Artworks by Scott Burton, 1969–80 Notes Selected Bibliography Index

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Book SynopsisPerforming Electronic Music Live lays out conceptual approaches, tools, and techniques for electronic music performance, from DJing, DAWs, MIDI controllers, traditional instruments, live sound design, hardware setups, custom software and hardware, to live visuals, venue acoustics, and live show promotion. Through case studies and contrasting tutorials by successful artists, Kirsten Hermes explores the many different ways in which you can create memorable experiences on stage. Featuring interviews with highly accomplished musicians and practitioners, readers can also expand on their knowledge with hands-on video tutorials for each chapter via the companion website, performingelectronicmusic.live. Performing Electronic Music Live is an essential, all-encompassing resource for professionals, students of music production courses, and researchers in the field of creative-focused performance technology. Table of ContentsChapter 1 – General Advice1. The concept2. Confidence and preparation2.1 Effective rehearsal2.2 Dealing with stage fright2.3 Stepping into the performance persona2.4 Using feedback and being prepared for rejection3. Quality of the production4. Factors that determine the setup choice4.1 The music – genre and composition4.2 The act – personality, motivation and skills4.3 Band members and skills4.4 The performance situation4.4.1 The audience4.4.2 The venue and playback system4.4.3 Risk4.4.4 Budget4.4.5 Need for portabilityTutorial and takeaway points5. ReferencesChapter 2 – DAWs and Controllers1. Non-linearity of time2. Overview of performance DAWs2.1 Ableton Live2.2 Bitwig2.3 Maschine2.4 Logic Pro X2.5 Motu Digital Performer2.6 FL studio2.7 Standalone hardware DAW equivalents3. Plugging in hardware3.1 Live arrangement3.2 One-shots and finger drumming3.3 Performing on software instruments3.4 Controlling audio effects3.5 Other external hardware4. Prepared musical material and live recording5. Collaboration6. Randomness and generative approaches7. Customising the performance interface8. Performing live in more studio-oriented DAWs9. Working with visuals10. Recording the showTutorialFrom a complex studio production to an intuitive live setLooping clipsOne-shotsFollow actionsLive effectsLive keys and vocalsVisuals11. Takeaway pointsReferencesInterview with Robert HenkeChapter 3 – MIDI and CV Performance Controllers1. CV/GATE2. The MIDI protocol2.1 MIDI messages in the MIDI 1 protocol2.2 MIDI 2.03. Types of performance controllers3.1 Buttons3.2 Continuous signals: knobs, faders, sliders3.3 Controllers that resemble traditional musical instruments.3.4 Modular controllers3.5 Motion-controlled performance hardware3.6 Turning non-musical hardware into MIDI controllers3.7 MIDI Polyphonic Expression3.8 Sequencers3.9 Clock signals and MIDI routingTutorial4. Takeaway pointsReferencesChapter 4 – DJing and Turntablism1. A short history of DJing2. Types of DJ in the present day2.1 Touring artist-DJs2.2 Resident DJs2.3 Mobile event DJs2.4 Radio DJs2.5 Online DJ-producers3. DJ techniques3.1 Mixing techniques and turntablism3.2 Virtuoso turntablism3.3 Effects and audio processing3.4 Programming4. DJ tools available today4.1 DJ software and hardware controllers4.2 CDJs4.3 Going retro: using Vinyl for DJing4.4 Headphones, monitors and microphones4.5 Streaming tracks from online platformsTutorial: three DJ setups presented by Dan MurrayPreparationDJ skills and techniquesBeatmatching on vinylGetting creative on CDJsWorking with a hybrid setupPerformance styles5. Takeaway pointsReferencesInterview with Alex M.O.R.P.HChapter 5 - Incorporating Acoustic Instruments and Vocals 1. Traditional instruments in electronic music2. Fusion genres3. Live instruments and vocals that are not on the record4. Instruments that are on the record but not on stage5. Microphones and DI boxes6. Effects and sound manipulation6.1 Vocal effects processing6.2 Vocoders and talk boxes6.3 Effects for other instrumentsTutorial – generated live vocal harmonies, violin and synth7. Takeaway pointsReferencesInterview with Matt RobertsonChapter 6 – Live Synthesis and Sound Design1. Synthesis technology1.1 Synthesis techniques1.1.1 Additive synthesis1.1.2 Subtractive synthesis1.1.3 FM synthesis1.1.4 Waveshaping synthesis1.1.5 Sampling1.1.6 Granular synthesis1.1.7 Wavetable synthesis1.1.8 Physical modelling synthesis1.2 Controls typically found on commercial synthesizers1.2.1 Oscillators1.2.2 Amplifier1.2.3 Amplitude envelope1.2.4 Filters1.2.5 Modulation1.2.6 Clock1.2.7 Effects, sequencing and arpeggiators1.2.8 Playback controls2. A rich history of artists shaping their sound through synthesis2.1 Retro-leaning synths used by current artists3. A brief history of sampling4. Using synths and samplers on stage4.1 Playing live on hardware synthesizers and samplers4.1.1 Choosing hardware synths4.1.2 Working with pre-programmed sequences4.1.3 Modular synthesizers on stage4.2 Performing live with software synthesizersTutorial5. Takeaway pointsReferencesChapter 7 – Performing without a Laptop1. Building blocks of a laptop-free setup1.1 Sound sources1.2 Control signal generators1.2.1 Clock signal generators1.3 Control signal routing tools1.4 Sound processors and effects1.5 Mixers2. All-in-one hardware tools3. Cabling and connectionsTutorial: a modular synthesizer setup (Matt Gooderson)Modular SystemsComponents of the Hardware SetupMelodyRhythmSound SourcesUtility ModulesMultipleQuantiserSample and HoldMixerAudio ModifiersComposition and Performance4. Takeaway pointsReferencesChapter 8 – Programming Custom Performance Tools1. Getting started with programming1.1 What is a program?1.2 What programming language should you learn?2. Inspiring artist examples2.1 Complete playback solutions2.2 Effects plug-ins and software instruments2.3 Expanding the functionality of hardware2.4 Automatic performance tools2.5 Letting the outside environment control the soundTutorial: introducing BBC R&D’s Audio Orchestrator, featuring Jon Francombe and Stephen DavismoonHow does Audio Orchestrator work?The Sequences pageThe Controls pageThe Audio pageThe Appearance pageThe Export page3. Patch It: modular music programming environments3.1 Max/MSP3.2 Pure Data3.3 Other node-based programming environments3.4 Node-based programming in action3.4.1 Effects processing3.4.2 Generative music3.4.3 Sampling and sequencing3.4.4 Working with external hardware3.4.5 Theatre showsTutorial: generative music in Max / MSP, featuring Francesc Moya SerraFirst steps and audio outputMetronome and timingSound triggering with the select objectUsing MIDI notes to perform on a VST synthRandom pitches in a subpatchAdding further complexityRandom note velocities and durationsModulating synthesis parametersFitting the random note pitches to a musical scalePercussionThe performance GUI4. Live coding: making EDM with algorithmsTutorial: an introduction to SuperCollider, featuring Eli FieldsteelThe interfaceGetting startedOscillator UGensCross-fading between soundsWorking with pre-recorded audio samplesWhat else is possible in SuperCollider?5. Takeaway PointsReferencesInterview with Holly HerndonChapter 9 – Building Custom Hardware Tools1. New instruments built from scratch2. The human body as musical instrument3. Adding functionality to existing instruments4. Performing music on toys and household items5. How can you get started?Tutorial: Optical Theremin inside a Game Boy Shell with Rainbow Trash (Dominique Pelletier)What you will needCasingElectronicsTesting connectionsSoldering connectionsClosing up the caseOther things you can do...6. Takeaway pointsReferencesChapter 10 – The Performance Setting1. Common live sound technology2. The soundcheck3. Live sound mixing4. Spaces4.1 Arenas and stadiums4.2 Large Festivals4.3 Nightclubs4.4 Warehouse raves4.5 Concert halls4.6 Outdoor theatres4.7 Small and intimate shows4.8 Controlled acoustic spaces4.9 Installations4.10 Remote settings and streamingTutorial: a large redundancy playback rig, featuring Steven MasseyStems for playbackUninterruptible power supplyRedundancy playback rigOutput routing via a split rackThe monitor mixThe live mix5. Takeaway pointsReferencesInterview with Laura EscudéChapter 11 – Stage Design and Visual Parameters1. Tools for creating visual interest1.1 Moving visuals1.2 Lighting1.3 Dancing and acting1.4 Fashion1.5 Stage design2. What determines the choice of visual stage parameters?2.1 Artist identity2.2 Visual parameters that convey a narrative2.3 Creating an abstract connection between what is seen and heard2.4 Amplifying performance parametersTutorial 3. Takeaway pointsReferencesChapter 12 – Planning and Promotion1. Music branding principles1.1 Artist identity1.2 Target audience2. Creating marketing materials2.1 Visual materials2.2 Biography2.3 Press release2.4 Website2.4.1 A clear representation of the artist image2.4.2 Layout and content2.4.3 Search engine optimization2.5 Social media2.6 Hardcopy marketing materials3. Networking and gig opportunitiesTutorial: music industry Dos and Don’ts presented by Woody van EydenWhere am I now?Where do I want to be?What do I need to do to get there?Who can help me?What should I do in terms of networking?4. Takeaway pointsReferencesChapter 13 – Conclusion1 What do electronic musicians do on stage?2 What constitutes a great electronic music performance?3 How do I choose the concept for my show?3.1 A compelling Performance persona3.2 Virtuosic skills3.3 Technical know-how3.4 A compelling performance setting3.5 Liveness3.6 Core values3.7 Visual interest4 What does my audience expect?5 I am quite shy but I would like to perform live. What can I do?6 I cannot play any instruments or sing. Can I still perform live?7 Should I be a solo artist or form a band?8 What kind of tools do I need to perform electronic music live?9 There are so many different options. What is the right setup for me?10 Who creates electronic performance equipment?11 Where can I try out and buy performance equipment?12 I produce music in a DAW. How can I turn this into a live show?13 Should my live show sound like my record?14 What does "live" mean? Should every sound be created in the moment, or are backing tracks acceptable?15 Is it bad to mime and pretend that I am doing something on stage when I am not?16 I have never produced any music. Where do I begin?17 How should I prepare for my show?17.1 Practice17.2 Sound check17.3 Feedback18 How can I find gig opportunities?Thank you!

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Book SynopsisInterpreting the meaning of hospitality in an unwelcoming political moment Amid xenophobic challenges to America’s core value of welcoming the tired and the poor, Irina Aristarkhova calls for new forms of hospitality in her engagement with the works of eight international artists. In this first monograph on hospitality in contemporary art, Aristarkhova employs a feminist perspective to critically explore the artworks of Ana Prvački, Faith Wilding, Lee Mingwei, Kathy High, Mithu Sen, Pippa Bacca, Silvia Moro, and Ken Aptekar and asks who, how, and what determines who is worthy of our welcome. Spanning a diverse range of contemporary art practices, Arrested Welcome shows how artists challenge our existing notions of hospitality—culturally, philosophically, and politically. From the role of “microcourtesies” in social change to the portrayal of waiting as a feminist endeavor, Aristarkhova looks deeply into topics such as gender stereotypes of welcome, ways to reclaim civility, and the means by which guests (sometimes human, sometimes animal) push the limits of our hosting traditions. Blending a feminist analysis of hospitality with in-depth case studies on how contemporary artists stimulate personal reflection and political engagement, Aristarkhova initiates these important conversations at a critical time of national and international hospitality crises.Trade Review"A thought-provoking and accessible analysis of the ways that contemporary performance and exhibition artists address a theme of great contemporary importance: hospitality. Linking that theme to a cluster of related issues—fear, courtesy and etiquette, the act of waiting, the act of welcoming—Arrested Welcome offers a series of engaging examples of ways that artists can stimulate personal reflection and political engagement without being didactic or preachy."—Susan Merrill Squier, author of Epigenetic Landscapes: Drawings as MetaphorTable of ContentsContentsIntroduction: Welcome as Resistance1. Reclaimed Civility: Ana Prvački2. Undoing Waiting: Faith Wilding3. The Man Who Welcomes: Lee Mingwei4. Hosting the Animal: Kathy High5. Welcome Withdrawn: Mithu Sen6. A Leap of Faith: Pippa Bacca and Silvia MoroConclusion. Hospitality Now: Ken AptekarAcknowledgmentsNotesIndex

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Book SynopsisAn inspiring speaker and artist asked 20,000 people around the world to share the regrets they wanted him to burn in a mock Viking ship.Trade Review“Wise, funny, and surprisingly poignant, this book teaches us the most important lesson there is: how to be a better human being.” — Bob Goff, New York Times bestselling author of Dream Big and Live in Grace “A hilarious, wise, and inspiring roadmap for life. Kyle Scheele bravely bares his own vulnerabilities to show us that what we reject most in ourselves are often the very things that connect us all as humans.” — Qian Julie Wang, New York Times bestselling author of Beautiful Country “With humor, heart, and a whole lot of cardboard, Kyle Scheele delivers a blast of creative inspiration. Here we have something truly special - a reminder that we each already have the materials needed to live a life packed with beauty and joy.” — Brad Montague, New York Times bestselling author and illustrator of The Circles All Around Us “Scheele has written a love letter to those of us who struggle through the painful and seemingly endless process of moving on. Scheele gave me permission to celebrate the journey, with its highs and lows, and start a new adventure with nothing left to carry but the hope of what lies ahead.” — Hugh Weber, CEO of The Great Discontent "This book reads like it was written by someone who is 100 years old because Kyle has packed so much life into such a short time frame. I can't wait to see what you do after you read this manifesto for the beauty of crazy ideas." — Jon Acuff, New York Times bestselling author of Soundtracks: the Surprising Solution to Overthinking “'No regrets’ is a cliché for a reason: we hate facing our shortcomings! I didn’t think it was possible, but Kyle Scheele makes this important inner work not just easy, but hilarious! The sugary goodness of his storytelling makes this medicine an actual treat.” — Andy J. Pizza, host of Creative Pep Talk podcast “Like John Baldessari, who decided to cremate all his ‘bad art’ and start over, cardboard master and motivational speaker Kyle Scheele shows readers that they really can “burn it all down.” Get this book so you can learn to set your old life on fire before it burns you out.” — Austin Kleon, New York Times bestselling author of Steal Like an Artist

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Book SynopsisTrade Review“Risk Work is a masterful rethinking of US contemporary art since the 1960s, revealing how ‘guerrilla tactics’ constituted an interface between conceptual and performance-based art and the state’s intensified expansion of racialized policing. Gleisser offers a complex and theoretically rigorous model for historical research wherein state documents speak of the arts, just as the history of state-sanctioned violence can be found in artists’ archival papers.” -- Chon Noriega, editor, A Ver: Revisioning Art History book series“An accomplished work with surprising interdisciplinary insights. Gleisser has provided us with a much-needed study of the proliferative use of ‘guerrilla tactics’ in contemporary American art and performance. Drawing art history and performance studies into conversation with critical legal studies of race, this necessary text brilliantly illuminates the complex networks that flow between contemporary tactics in art and performance and the power effects of a state and legal structure that has increasingly invested in and expanded the racialized dynamics of police and carceral power.” -- Joshua Chambers-Letson, author of "After the Party: A Manifesto for Queer of Color Life"“A seminal account of carceral governance’s effects in the art world. Situating guerrilla art’s rise within transnational movements against state violence, Risk Work shines new light on the nexus between artistic practice, political knowledge production, and resistance.” -- Brian Jordan Jefferson, author of "Digitize and Punish: Racial Criminalization in the Digital Age"“Risk Work promises to be an important, eye-opening, and potentially field-transforming contribution to the ongoing historicization of progressive, activist art in the US. Gleisser reorganizes the most basic templates for understanding conceptual and performance art, while presenting an insistent appeal to acknowledge and call out whiteness. I am nearly in awe of the text. Its radically original approach demonstrates its hermeneutic value immediately and incontrovertibly.” -- Matthew Jesse Jackson, author of "The Experimental Group: Ilya Kabakov, Moscow Conceptualism, Soviet Avant-Gardes""With Risk Work, Gleisser cleverly frames a compelling discourse around artists' actions in public space as they relate to the politics of the racialized and gendered body, punitive literacy, and risk-taking. By assessing key legislation, political events, city development policies, policing, and media portrayals alongside art historical feedback and reception, Gleisser provides a comprehensive consideration of the privileges and risks inherent in performance art, and their legibility, both within public space and the art world." -- Allison Glenn, curator and writerTable of ContentsIntroduction. Punitive Literacy and Risk Work 1 Hit-and-Run Aesthetics: Asco, Chris Burden, and Relational Geographies of Risk, 1971–1976 2 Deputized Discernment: Adrian Piper, Jean Toche, and the Politics of Antiloitering Laws, 1974–1978 3 Rethinking Endurance: Pope.L, Tehching Hsieh, and Surviving Safety, 1978–1983 4 “¿Why Won’t You See Us?”: The Guerrilla Girls, PESTS, and the Limits of Anonymity, 1985–1987 Epilogue. At the Edges of Guerrilla Acknowledgments Notes Bibliography Index

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Book Synopsis''Roger Kneebone is a legend'' Mark Miodownik, author of Stuff Matters''Fascinating and inspiring'' Financial Times''The pandemic has made the necessity of relying on experts evident to all . . . this is a rich exploration of lifelong learning'' GuardianWhat could a lacemaker have in common with vascular surgeons? A Savile Row tailor with molecular scientists? A fighter pilot with jazz musicians? At first glance, very little. But Roger Kneebone is the expert on experts, having spent a lifetime finding the connections.In Expert, he combines his own experiences as a doctor with insights from extraordinary people and cutting-edge research to map out the path we''re all following - from ''doing time'' as an Apprentice, to developing your ''voice'' and taking on responsibility as a Journeyman, to finally becoming a Master and passing on your skills. As Kneebone shows, although each outcome is different, the journey is always the same. Whether you''re developing a new career, studying a language, learning a musical instrument or simply becoming the person you want to be, this ground-breaking book reveals the path to mastery.Trade ReviewRoger Kneebone is a legend -- Mark Miodownik, author of Stuff MattersFascinating and inspiring * Financial Times *The doctor stitching together medicine and art -- GuardianExamines the ubiquitous, but understudied, process of becoming an expert -- Richard Webb * New Scientist *Roger Kneebone has an insatiable desire to understand what makes people tick and for years has scratched this itch by bringing together countless interesting people to share their experience and knowledge. This book on experts is a wonderful manifestation of what he has learnt. If you want to do anything better, from surgery to embroidery, you can learn something from this book -- Christopher Peters FRCS, Clinical Senior Lecturer and Consultant Upper GI and General Surgeon, Imperial College LondonRoger Kneebone describes a journey that has no short cuts and no end. He tracks the inside story of becoming an expert, documenting a time line that stretches from the state of knowing nothing to passing on the wisdom of a lifetime. He draws out common themes between his experiences as a medical student, surgeon, GP, educator, academic, harpsichord player and sometime juggler with those of men and women working creatively in design studios, workshops and performance spaces, all of them now experts in their own fields. His refutation of the view that experts are an irrelevant, 'useless elite' is compelling and chilling in equal measure. Whisper it quietly, but post COVID-19, there is a growing realisation that experts do matter. I wish this book had been available when I was a student - it is full of wisdom, insight, humanity and encouragement. We should all aim to cross the 'ha-ha' -- Susan Standring, Emeritus Professor of Anatomy, King's College LondonRoger Kneebone is our foremost expert on expertise. Expert is a desperately important book at a moment when we've begun to wonder just what we might still be good at -- Ken Arnold, Head of Public Programmes at Wellcome CollectionIn a world awash with knowledge, we are in danger of forgetting what it means to be wise. Where knowledge arms us against the onslaughts of the world, wisdom disarms. It takes the risk opening up, to listen and attend, not presuming we already know. Wisdom puts others before ourselves. In this superbly written, passionately argued and very necessary book, Roger Kneebone contends that wisdom, more than knowledge, is the mark of the expert. In whatever vocation, as he shows us, becoming expert is a never-ending, lifelong task. But anyone can commit to it. Those who do should be an example to us all -- Tim Ingold, University of AberdeenMy time spent studying and working in Japan has left me with a deep appreciation for the importance of skill and the mystery of its acquisition. How do we navigate that path from knowing nothing to being able to pass on precious knowledge and experience to the next generation? Roger Kneebone is a supremely thoughtful and sensitive companion on that journey. -- Rebecca Salter RA, President of Royal Academy of ArtsVividly practical -- Andrew Robinson * Nature *

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Book Synopsis''Her bravest work of performance art to date . . . Rawly intimate'' ObserverThis memoir spans Marina Abramovic''s five decade career, and tells a life story that is almost as exhilarating and extraordinary as her groundbreaking performance art. Taking us from her early life in communist ex-Yugoslavia, to her time as a young art student in Belgrade in the 1970s, where she first made her mark with a series of pieces that used the body as a canvas, the book also describes her relationship with the West German performance artist named Ulay who was her lover and sole collaborator for 12 years. Abramovic has collaborated with stars from Lady Gaga to Jay-Z, James Franco and Willem Dafoe. Best known for her recent pieces ''The Artist is Present'' and ''512 Hours'', this book is a fascinating insight into the life of one of the most important artists working today, and the woman who has been described as ''the grandmother of performance art''.Trade ReviewCould this be her bravest work of performance art to date? . . . Rawly intimate and weirdly mesmeric. * Observer *Enchanting and emotionally raw, Walk Through Walls is an honest, gripping, and profound look into the heart and brilliant mind of one of the quintessential artists of the postmodern era. * Publishers Weekly, starred review *In her new memoir, Walk Through Walls, [Marina Abramovic] exposes herself as provocatively and fearlessly in language as she has done for many years in her largely nonverbal performance art. Her page-turner of a narrative [is] at times shocking...genuinely moving, and always coruscatingly honest. * Elle *Marina has lived like an unstoppable force of nature, with the kind of power that leaves me feeling breathless and disquieted-while at the same time profoundly impressed, awed, and inspired. As I turn the pages of her book, I hear her voice in my head, as if she were actually narrating the words. . . Her voice is soothing, calm, and centered. It belies the trauma, fear, and darkness coiled at the root of her impulse to express and expunge. * Annie Lennox, Vanity Fair *Candidly and vividly sharing her personal struggles as well as her artistic and spiritual discoveries, Abramovic presents a uniquely intense and affecting art memoir. * Booklist, starred review *

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Book SynopsisTrade Review[This] book as a whole stands as a major achievement not only in Yoruba history and historical anthropology, but in recent historiographic trends using ritual institutions and performances as primary historical sources. It will have a major impact in Yoruba studies, and in the study of West African history more generally. Willis should be commended for penetrating a complex and socially guarded ritual resource to glean the hidden histories manifested therein. * African Studies Review *Willis's work should be a must-read for students and established scholars alike. * Africa *Table of ContentsAcknowledgementsIntroduction1. The Early History of Otta and the Origins of Egungun and Gelede2. "Children" and "Wives" in the Politics of the Oyo Empire during the Era of the Atlantic Slave Trade3. The Emergence of New Warriors, Wards, and Masquerades: The Otta Kingdom during the Era of Imperial Collapse4. "A Thing to Govern the Town": Gendered Masquerades and the Politics of the Chiefs and the Monarchy in the Rebuilding of a Town, 1848–18595. Wives, Warriors, and Masks: Kinship, Gender, and Ethnicity in Otta, 1871–1928Conclusion: Egungun and Gelede at Otta TodayBibliographyIndex

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Book SynopsisTrade Review[This] book as a whole stands as a major achievement not only in Yoruba history and historical anthropology, but in recent historiographic trends using ritual institutions and performances as primary historical sources. It will have a major impact in Yoruba studies, and in the study of West African history more generally. Willis should be commended for penetrating a complex and socially guarded ritual resource to glean the hidden histories manifested therein. * African Studies Review *Willis's work should be a must-read for students and established scholars alike. * Africa *Table of ContentsAcknowledgementsIntroduction1. The Early History of Otta and the Origins of Egungun and Gelede2. "Children" and "Wives" in the Politics of the Oyo Empire during the Era of the Atlantic Slave Trade3. The Emergence of New Warriors, Wards, and Masquerades: The Otta Kingdom during the Era of Imperial Collapse4. "A Thing to Govern the Town": Gendered Masquerades and the Politics of the Chiefs and the Monarchy in the Rebuilding of a Town, 1848–18595. Wives, Warriors, and Masks: Kinship, Gender, and Ethnicity in Otta, 1871–1928Conclusion: Egungun and Gelede at Otta TodayBibliographyIndex

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Book SynopsisTrade ReviewScholarship has established that arts exist through complex networks with historical time; aesthetic forms have distinctive rhythmic-temporal lives; and devotional meditations are based on diurnal, mythical and other time-based imaginings. Yet, The Politics of Musical Time brings these dimensions together in a most original manner, throwing sharp analytical light on synchronic and diachronic relations between musical and social temporalities in Bengal. It does so by analyzing the materiality of sonic time as a highly nuanced expansion of relations between affect and economy, meaning and rhythm, the past and the contemporary, devotion and context, and aesthetics and everyday life. It is a unique and significant contribution to studies of South Asian religions, aesthetics, and historical and contemporary time. -- Sukanya Sarbadhikary, author of The Place of Devotion: Siting and Experiencing Divinity in Bengal-VaishnavismTable of ContentsAccessing Audiovisual MaterialsAcknowledgmentsNotes on Spelling and TransliterationNotes on Representing Musical SoundNotes on Dating SystemsIntroduction: Kīrtan's Influence Derives from TimePart I: Genealogies of Kīrtan1. Temporality and Devotional Performance in Bengal2. The Seeds of Kīrtan: Histories and Imaginaries of Devotional Song in Early Modern Bengal3. Devotional Song Arrives in the City: Histories of Patronage and Images of the Devout Musician in the Colonial Period4. Institutional Pasts and Professional Futures: Temporalities of Instruction and Performance in Contemporary West BengalPart II: The Devotional Aesthetics of Musical Expansion5. Word-Pictures: Expansions of Mood and Meaning in Kīrtan Song Texts6. Sonic Synchronies of Tāl Theory7. The Divine Play of the Tax Collector: Musical Expansion, Embodied Response, and Didactic Storytelling in a Līlā KīrtanPart III: The Shrinking Markets for Expanding Songs8. The Marketplace of Music Festivals: Modern Social Time and Musical Labor9. Media Markets: Visualization and the Abstraction of Musical Time10. Conclusion: Kīrtan OnlineGlossaryBibliographyIndex

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Book SynopsisHow visual art has been enriched by dance, and dance has been shaped by art, in unprecedented and exciting ways for the past fifty years.Move. Choreographing You explores the interaction between visual art and dance since the 1960s. This beautifully illustrated book, published in connection with a major exhibition, focuses on visual artists and choreographers who create sculptures and installations that direct the movements of audiences—making them dancers and active participants. Move shows that choreography is not merely about the notation of movement on paper or in film but about the ways the body inhabits sculpture and installations.The book documents some of the diverse but interconnected ways that visual art and choreography have come together over the past fifty years. Among the artists whose work helped to forge the art-dance connection are Allan Kaprow, Robert Morris, Lygia Clark, Bruce Nauman, Trisha Brown, Simone Forti, Franz West, Mike Kelley, Isaac J

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Book SynopsisIn her performances, videos, and installations, Sharon Hayes (b 1970) explores the nexus between politics, history, speech, and desire. This book provides an insight into the complex motivations and development of Hayes' projects.

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Book SynopsisExplores three performance art practices of the 1970s and early 1980s: object theater; loft performance; and new psychodrama. By tracing the paths of such artists as Stuart Sherman, Julia Heyward, Jared Bark and Jill Kroesen, this title makes visible a critical period in the development of performance art.

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Book SynopsisThis handsome book peers into Troubleyn/Laboratorium, the workspace, collective art space, and creative incubator of Belgian multidisciplinary artist Jan Fabre (b. 1958), whose performances, staged since the 1980s, have brought him international acclaim and recognition. Expressing the collective aims of Fabreâs theatre company, Troubleyn/Laboratorium functions as his workspace as well as a nurturing environment for the activities of his theater company and young artists alike, in which artists are free to develop and materialize their creative impulses. The building, situated in a progressive multicultural neighborhood in northern Antwerp, houses a uniquely integrated collection of art works from international visual artists, writers, theatre makers, and philosophers, with whom Jan Fabre feels a close affinity and whose works represent the overall cooperative spirit of the space itself. Fostering an environment that is as progressive as the artistâs varied oeuvre, Troubleyn/Laboratoriu

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Book SynopsisThis unconventional publication explores the process of making art through the work and studio practice of Sophie Whettnall (b. 1973), a contemporary Belgian artist whose works range from video art, installation, and performance to sculpture and drawing. In addition to copious illustrations of Whettnall's artwork that highlight its relationship to the studio and the artist's creative process, the book features three conversations. The first, between Whettnall and fellow artist Marina Abramovic, explores transmission, violence, and femininity. The second, between Emiliano Battista and Scott Samuelson, situates Whettnall's work and practice in the broader context of contemporary art and the theoretical framework that shapes it. In the third, Carine Fol and Whettnall share with the reader the behind-the-scenes discussions and decisions that go into the mounting of an exhibition. Distributed for MercatorfondsExhibition Schedule:CENTRALE for contemporary art, Brussels (04/04/1908/04/19)

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Book SynopsisThis fascinating portrait of two of the most brilliant theater artists of the twentieth century—and the women who made their work possible—is set against the explosive years of the Weimar Republic.Among the most outsized personalities of the sizzling, decadent period between the Great War and the Nazis’ rise to power were the renegade poet Bertolt Brecht and the avant-garde composer Kurt Weill. These two young geniuses and the three women vital to their work—actresses Lotte Lenya and Helene Weigel and writer Elisabeth Hauptmann—joined talents to create the theatrical masterworks The Threepenny Opera and The Rise and Fall of the City of Mahagonny, only to split in rancor as their culture cracked open and their differences became irreconcilable. The Partnership is the first book to tell the full story of one of the most important creative collaborations of the last century, and the first to give full credit to the women who co

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Book Synopsis''Hasa Diga Eebowai''In 2011, a musical full of curse words and Mormon missionaries swept that year's Tony Awards and was praised as a triumphant return of the American musical. This book explores the inherent achievements (and failures) of The Book of Mormonone of the most ambitious, and problematic, musicals to achieve widespread success. The creative team membersMatt Parker, Trey Stone and composer Robert Lopezwere collectively known for their aggressive use of taboo subjects and crude, punchy humor. Using the metaphor of boxing, Granger explores the metaphorical punches the trio delivers and ruminates over the less-discussed ideological wounds that their style of shock absurdism might leave behind. This careful examination of where The Book of Mormon succeeds and fails is sure to challenge discussion of our understanding of musical comedy and our appreciation for this cultural landmark in theatre.Table of ContentsPreface: The Biggest Man-Balls on Broadway Introduction: Fit for the Ring—A Training Montage 1. Tradition versus Originality: Musical Theatre’s Titleholder and Its Number One Challenger (A Win) 2. The Fight America Wanted: Faith as Creative Self-Guidance Versus Faith as Dutiful Collective Obedience (A Win) 3. Cheap Shots: Western Representations of Africa Versus African Diaspora Realities (A Loss) 4. A Caution: Putting LGBTQ Advocacy on Queer Street Conclusion: Split Decision—Defending the Offending Champions

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Book SynopsisFrantic Assembly have had a powerful and continuing influence on the popularisation of devising practices in contemporary theatre-making. Their work blends brave and bold physical theatre with exciting new writing, and they have collaborated with some of the leading theatre-makers in the UK. The companyâs impact reaches throughout the world, particularly through their extensive workshop and education programmes, as well as their individual and collective impact as movement directors on landmark, internationally successful productions such as Black Watch and The Curious Incident of the Dog in the Night-Time. This volume reveals the background to, and work of, a major influence on twentieth and twenty-first century performance. Frantic Assembly is the first book to combine: an overview of the history of the company since its foundation in 1994 an analysis of the key ideas underpinning the companyâs work a critical commentary on two key productions â Hymns by Chris OâConnell (1999) and Stockholm by Bryony Lavery (2007) a detailed description of a Frantic Assembly workshop, offering an introduction to how the company works. As a first step towards critical understanding, and as an initial exploration before going on to further, primary research, Routledge Performance Practitioners offer unbeatable value for todayâs student.Table of Contents1. Biographical and Artistic Content: A ‘Frantic Method’?; 2. Key Writings, Principles, and Ideas: ‘Always Forward, Never Back'; 3. Ideas in Production: Hymns and Stockholm; 4. Practical Work: A Frantic Assembly Workshop; Conclusion

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Book SynopsisThe Routledge Comedy Studies Reader is a selection of the most outstanding critical analysis featured in the journal Comedy Studies in the decade since its inception in 2010.The Reader illustrates the multiple perspectives that are available when analysing comedy. Wilkie's selections present an array of critical approaches from interdisciplinary scholars, all of whom evaluate comedy from different angles and adopt a range of writing styles to explore the phenomenon. Divided into eight unique parts, the Reader offers both breadth and depth with its wide range of interdisciplinary articles and international perspectives.Of interest to students, scholars, and lovers of comedy alike, The Routledge Comedy Studies Reader offers a contemporary sample of general analyses of comedy as a mode, form, and genre.Trade ReviewPraise for A Comedy Studies Reader, ed. Ian WilkieAn important resource for those bent on taking comedy seriously, this collection gathers disparate studies from the innovative Journal of Comedy Studies and elsewhere to illuminate contemporary performative comedy. It should prove invaluable for students in Comedy Studies and also remind many in Humour Studies about the importance of the relationship between a piece of humour and its mediator, whether professional or or amateur, as a creator of amusement and laughter.Jessica Milner Davis FRSN, University of SydneyTable of ContentsForeword by Ian WilkieAcknowledgementsPart I: Back to Basics: What is Comedy and Where Does It Come From?1. Against Comedy Chris Ritchie2. Thoughts on the current state of humour theory Peter Marteinson3. The origins of comic performance in adult–child interaction Ian Wilkie and Matthew Saxton 4. The science of baby laughter Caspar Addyman and Ishbel Addyman Part II: Old Comedy: Taproots and Tropes 5. The time-travelling miser: Translation and transformation in European comedy Rachel Kirk6. Conflict and slapstick in Commedia dell’Arte – The double act of Pantalone and Arlecchino Louise Peacock7. Clowns do ethnography: an experiment in long-distance comic failure Barnaby King and Richard TalbotPart III: Class, Gender, Race: Reading Comedy’s Issues 8. ‘To what base uses we may return, Horatio!’ – Hamlet, Comedy and Class Struggle Isaac Hui9. No other excuse: Race, class and gender in British Music Hall comedic performance 1914–1949 David Huxley and David James10. 'Women Like Us?' Gilli Bush-BaileyPart IV: Doing Comedy: Giving, Receiving, Causes and Effects11. Pretty funny: Manifesting a normatively sexy female comic body Hannah Ballou12. No greater foe? Rethinking emotion and humour, with particular attention to the relationship between audience members and stand-up comedians Tim Miles13. The roots of alternative comedy? – The alternative story of 20th Century Coyote and Eighties Comedy Lloyd Peters14. Life memory archive translation performance memory archive life: textual self-documentation in stand-up comedy Christopher MolineuxPart V: New Comedy? Interviews with Practitioners15. Not the definitive version: an interview with Ross Noble Oliver Double16. Scenes in the House of Comedy: Interview with Stewart Lee Tony Moon17. Up and down with Barry Cryer: From an interview conducted on 22 July 2011 Tony Moon18. Interview with Charlie Hanson Gary Turk19. ‘Words are my weapons’: Tiffany Stevenson interview Tony Moon20. Russell Kane: Comic chameleon Sam Friedman21. Les Dennis: Man out of time Sam Friedman22. ‘Not a funny place to live’: An interview with Chris Rock Kara Hunt23. A series of ghastly mistakes that turned out right in the end Tony Moon interview with John Lloyd (comedy producer)24. Interview with Kate Fox - stand-up poet Ian Wilkie Part VI: Critical Angles: Essays on a Joan Rivers’ Routine25. From toothpick legs to dropping vaginas: Gender and sexuality in Joan Rivers’ stand-up comedy performance Sharon Lockyer26. Joan Rivers – Reading the meaning Louise Peacock27. ‘A pleasure working with you’: Humour theory and Joan Rivers Brett MillsPart VII: The World of Comedy: Culture and Satire28. Obscenity, dirtiness and licence in Jewish comedy Debra Aarons and Marc Mierowsky29. Satire in a multi-cultural world: a Bakhtinian analysis Grant Julin30. Silly meets serious: discursive integration and the Stewart/Colbert era Amanda Martin, Brbara K. Kaye and Mark D. Harmon31. The comedian, the cat, and the activist: the politics of light seriousness and the (un)serious work of contemporary laughter Ian Reilly32. Borat, Sacha Baron Cohen, and the seriousness of (mock) documentary Cate BloukePart VIII: New Comedy? Emerging Platforms and Forms of Expression 33. A book and a movie walk into a bar Kyle Meikle34. Kidding around: children, comedy, and social media Peter Kunze35. A new economy of jokes?: #Socialmedia #Comedy Rebecca Krefting and Rebecca Baruc36. Comedy meets media: how three new media features have influenced changes in the production of stand-up comedy Jillian M. Belanger37. The animated moving image as political cartoon Lucien Leon38. Is vlogging the new stand-up? A compare/contrast of traditional and online models of comedic content distribution Matthew McKeagueIndex

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Book SynopsisThe Routledge Comedy Studies Reader is a selection of the most outstanding critical analysis featured in the journal Comedy Studies in the decade since its inception in 2010.The Reader illustrates the multiple perspectives that are available when analysing comedy. Wilkieâs selections present an array of critical approaches from interdisciplinary scholars, all of whom evaluate comedy from different angles and adopt a range of writing styles to explore the phenomenon. Divided into eight unique parts, the Reader offers both breadth and depth with its wide range of interdisciplinary articles and international perspectives.Of interest to students, scholars, and lovers of comedy alike, The Routledge Comedy Studies Reader offers a contemporary sample of general analyses of comedy as a mode, form, and genre.Trade ReviewPraise for A Comedy Studies Reader, ed. Ian WilkieAn important resource for those bent on taking comedy seriously, this collection gathers disparate studies from the innovative Journal of Comedy Studies and elsewhere to illuminate contemporary performative comedy. It should prove invaluable for students in Comedy Studies and also remind many in Humour Studies about the importance of the relationship between a piece of humour and its mediator, whether professional or or amateur, as a creator of amusement and laughter.Jessica Milner Davis FRSN, University of SydneyTable of ContentsForeword by Ian WilkieAcknowledgementsPart I: Back to Basics: What is Comedy and Where Does It Come From?1. Against Comedy Chris Ritchie2. Thoughts on the current state of humour theory Peter Marteinson3. The origins of comic performance in adult–child interaction Ian Wilkie and Matthew Saxton 4. The science of baby laughter Caspar Addyman and Ishbel Addyman Part II: Old Comedy: Taproots and Tropes 5. The time-travelling miser: Translation and transformation in European comedy Rachel Kirk6. Conflict and slapstick in Commedia dell’Arte – The double act of Pantalone and Arlecchino Louise Peacock7. Clowns do ethnography: an experiment in long-distance comic failure Barnaby King and Richard TalbotPart III: Class, Gender, Race: Reading Comedy’s Issues 8. ‘To what base uses we may return, Horatio!’ – Hamlet, Comedy and Class Struggle Isaac Hui9. No other excuse: Race, class and gender in British Music Hall comedic performance 1914–1949 David Huxley and David James10. 'Women Like Us?' Gilli Bush-BaileyPart IV: Doing Comedy: Giving, Receiving, Causes and Effects11. Pretty funny: Manifesting a normatively sexy female comic body Hannah Ballou12. No greater foe? Rethinking emotion and humour, with particular attention to the relationship between audience members and stand-up comedians Tim Miles13. The roots of alternative comedy? – The alternative story of 20th Century Coyote and Eighties Comedy Lloyd Peters14. Life memory archive translation performance memory archive life: textual self-documentation in stand-up comedy Christopher MolineuxPart V: New Comedy? Interviews with Practitioners15. Not the definitive version: an interview with Ross Noble Oliver Double16. Scenes in the House of Comedy: Interview with Stewart Lee Tony Moon17. Up and down with Barry Cryer: From an interview conducted on 22 July 2011 Tony Moon18. Interview with Charlie Hanson Gary Turk19. ‘Words are my weapons’: Tiffany Stevenson interview Tony Moon20. Russell Kane: Comic chameleon Sam Friedman21. Les Dennis: Man out of time Sam Friedman22. ‘Not a funny place to live’: An interview with Chris Rock Kara Hunt23. A series of ghastly mistakes that turned out right in the end Tony Moon interview with John Lloyd (comedy producer)24. Interview with Kate Fox - stand-up poet Ian Wilkie Part VI: Critical Angles: Essays on a Joan Rivers’ Routine25. From toothpick legs to dropping vaginas: Gender and sexuality in Joan Rivers’ stand-up comedy performance Sharon Lockyer26. Joan Rivers – Reading the meaning Louise Peacock27. ‘A pleasure working with you’: Humour theory and Joan Rivers Brett MillsPart VII: The World of Comedy: Culture and Satire28. Obscenity, dirtiness and licence in Jewish comedy Debra Aarons and Marc Mierowsky29. Satire in a multi-cultural world: a Bakhtinian analysis Grant Julin30. Silly meets serious: discursive integration and the Stewart/Colbert era Amanda Martin, Brbara K. Kaye and Mark D. Harmon31. The comedian, the cat, and the activist: the politics of light seriousness and the (un)serious work of contemporary laughter Ian Reilly32. Borat, Sacha Baron Cohen, and the seriousness of (mock) documentary Cate BloukePart VIII: New Comedy? Emerging Platforms and Forms of Expression 33. A book and a movie walk into a bar Kyle Meikle34. Kidding around: children, comedy, and social media Peter Kunze35. A new economy of jokes?: #Socialmedia #Comedy Rebecca Krefting and Rebecca Baruc36. Comedy meets media: how three new media features have influenced changes in the production of stand-up comedy Jillian M. Belanger37. The animated moving image as political cartoon Lucien Leon38. Is vlogging the new stand-up? A compare/contrast of traditional and online models of comedic content distribution Matthew McKeagueIndex

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