Performance art Books
Bloomsbury Publishing (UK) Special Effects Makeup
Book SynopsisSpecial effects have become an increasingly important part of both film and theatre production. With storylines becoming more sensational and technology more sophisticated, the market for high-quality special effects is huge. In this book Janus Vinther provides step-by-step guidelines for achieving a wide variety of grotesque and outlandish effects, including bullet holes, body fluids and burns. In addition there is a chapter on specialised character make-up, ranging from Dracula to the Terminator. With detailed explanation of techniques and materials and illustrated throughout, this book contains everything you need to know to look your worst.
£24.69
Phaidon Press Ltd Sharon Hayes
Book SynopsisThe first comprehensive publication to capture Hayes's unique blend of performance and social engagement which has been at the forefront of questions of feminist history, queer time, and protest culture for over a decade
£29.75
Hamilton Books Serious Fun
Book SynopsisThe importance of play and fun to people's lives cannot be stressed enough in today's cultural climate of high stress, high stakes, and competition. One activity that gains recognition and credibility as both fun and transformative is theatrical improvisation or improv. In this book, Ruth Yamamoto reviews her research on the influences of improvisation on community college students. Educators, theatre artists, improvisers, or anyone interested building community, developing self-awareness, and affecting positive social change will want to read this book. Dr. Yamamoto examines the principles of improvisation and the concepts of play and flow to add credibility to a craft and practice that is often viewed a frivolous and silly. Ruth Yamamoto extends her research through interviews with applied improvisation professionals, examples and suggestions of games and exercises, and provides solid evidence of the serious, positive benefits of improvisation.Table of ContentsContents List of Tables Preface Acknowledgements Part I The Origins 1 Introduction: Why Have Fun? 2 What Is Improv? 3 Play and Why It Matters 4 What Is Flow? 5 The Paradox of Fun Part II The Study: The Shared Experiences of College Improvisers 6 Literature Review of Related Qualitative Studies 7 Examining the Shared Improv Experiences 8 The Themes Part III How Improv Can Change the World 9 Everything I Needed to Learn in Life I Learned Through Improv 10 Finding Improv in Everyday 11 Applied Improvisation 12 Improv Games and Exercises 13 Serious Fun for Life Appendices Appendix A: Interview and Focus Group Protocols Appendix B: Theatre Games and Exercises Appendix C: Substantive Quotes Resources References
£22.50
Taylor & Francis Ltd (Sales) Rudolf Laban Routledge Performance Practitioners
Routledge Performance Practitioners is a series of introductory guides to the key theatre-makers of the last century. Rudolf Laban was one of the leading dance theorists of the twentieth century. His work on dance analysis and notation raised the status of dance as both an art form and a scholarly discipline.
£36.99
Cambridge University Press Performing Grief in Pandemic Theatres
Book SynopsisThis Element discusses how theatre grieved for itself, for the dead, for lost ways of living, while also imagining and enacting new modes of being together. It shows how grief must seep into the public sphere to fight to save health and social care services, institutions, communities and art forms, including theatre.
£17.00
Taylor & Francis Ltd Object Performance in the Black Atlantic
Book SynopsisGiven that slaveholders prohibited the creation of African-style performing objects, is there a traceable connection between traditional African puppets, masks, and performing objects and contemporary African American puppetry? This study approaches the question by looking at the whole performance complex surrounding African performing objects and examines the material culture of object performance.Object Performance in the Black Atlantic argues that since human beings can attribute private, personal meanings to objects obtained for personal use such as dolls, vessels, and quilts, the lines of material culture continuity between African and African American object performance run through objects that performed in ritual rather than theatrical capacity. Split into three parts, this book starts by outlining the spaces where the African American object performance complex persisted through the period of slavery. Part Two traces how African Americans began to reclaiTable of ContentsPart 1: The African American Object Performance Complex 1. Introduction to the African American Object Performance Complex 2. Minkisi: Ritual Objects as Lines of Resistance 3. Mechanical Negroes 4. African American Story Cycles 5. The Evidence of Things Not Seen: Object Performance in African American Dance 6. Music is Our Mother Tongue: Object Performance in African American Music Part 2: African American Object Performance Overcoming Jim Crow 7. From Minstrelsy to Vaudeville: John W. Cooper Crafts an Entrée 8. Shadows Uplifted: African American Object Performance under Jim Crow 9. Creating Communities 10. Throwing Voice: African American Ventriloquists 11. In the Image of God: Puppet Ministry and Object Performance in the Black Church 12. Political Activism and African American Object Performance Part 3: Object Performance in African American Dramatic Presentations 13. African American Puppet Modernism: Alice Swann and the Wonderland Puppet Theatre 14. Staging Stories: African American Folktales and Puppet Theater 15. Object Performance in African American Visual Art 16. African Americans and Object Performance in American Theater 17. African American Puppet Film 18. African American Puppetry in Social Media 19. The Substance of Things Hoped for: Contemporary African American Puppet Theater
£35.99
Taylor & Francis Ltd The Routledge Companion to Latine Theatre and
Book SynopsisThe Routledge Companion to Latine Theatre and Performance traces how manifestations of Latine self-determination in contemporary US theatre and performance practices affirm the value of Latine life in a theatrical culture that has a legacy of misrepresentation and erasure.This collection draws on fifty interdisciplinary contributions written by some of the leading Latine theatre and performance scholars and practitioners in the United States to highlight evolving and recurring strategies of world making, activism, and resistance taken by Latine culture makers to gain political agency on and off the stage. The project reveals the continued growth of Latine theatre and performance through chapters covering but not limited to playwriting, casting practices, representation, training, wrestling with anti-Blackness and anti-Indigeneity, theatre for young audiences, community empowerment, and the market forces that govern the US theatre industry. This book enters conversati
£193.50
Taylor & Francis Ltd 360 Circus
Book SynopsisThis collection aims to map a diversity of approaches to the artform by creating a 360 view on the circus. The three sections of the book, Aesthetics, Practice, Culture, approach aesthetic developments, issues of artistic practice, and the circus' role within society. This book consists of a collection of articles from renowned circus researchers, junior researchers, and artists. It also provides the core statements and discussions of the conference UpSideDownCircus and Space in a graphic recording format. Hence, it allows a clear entry into the field of circus research and emphasizes the diversity of approaches that are well balanced between theoretical and artistic point of views. This book will be of great interest to students and scholars of circus studies, emerging disciples of circus and performance.Table of ContentsAcknowledgementsList of ContributorsIntroduction: Welcome to the Wonderland of Contemporary CircusFranziska TrappPart I: Circus MeaningChapter 1. Circus Does Not ExistJean-Michel GuyChapter 2. "La Putyka" by Cirk La Putyka: A Glimpse at Czech Contemporary CircusVeronika ŠtefanováPart II: Circus PracticeChapter 3. On Mutations of Forms, Style, and Meaning: From a Traditional to a Contemporary Trapeze ActSandy SunChapter 4. Articulating Hand-Balancing: Finding Space for Critical Self-TransformationCamilla DamkjaerChapter 5. Extreme SymbiosisLouise Von Euler Bjurholm and Henrik AggerChapter 6. Hamlet: To Have Written or Not to Have Written for the TightwireLouis Patrick LerouxChapter 7. Verticality, Gravity, Sense of Balance. Transmitting a Technique, Conveying a Sensation: Practices and Discourses of Circus Arts TeachersAgathe DumontChapter 8. Reading Circus. Dramaturgy on the Border of Art and AcademiaFranziska TrappChapter 9. UpSideDown Circus and SpaceDie Zeichner. Andreas GärtnerPart III: Circus CultureChapter 10. Circus Between Technique and Technology: Heideggerian "Enframing" and the Contested Space of Free Expression Sebastian KannChapter 11. Chaplin, Brecht, Fo: Toward a Concept of Epic ClowningGaia VimercatiChapter 12. To Walk the TightwireAnte UrsicChapter 13. The Spatiality of Australian Contemporary CircusKristy SeymourChapter 14. Cheerful, Nostalgic, Melancholic: Mood in CircusPeta TaitIndex
£35.99
Taylor & Francis Ltd Rechoreographing Learning
Book SynopsisThis book addresses the mind-body dichotomy in movement and dance.This book includes a description of the often-forgotten kinesthetic sense, body awareness, somatic practices, body-based way of thinking, mental imagery, nonverbal communication, human empathy, and symbol systems, what occurs in the brain during learning, and why and how movement and dance should be part of school curricula. This exploration arguers that becoming more aware of bodily sensations serves as a basis for knowing, communicating, learning, and teaching through movement and dance.This book will be of great interest to scholars and students interested in teaching methodology and for courses in physical education, dance, and education.Table of ContentsAcknowledgementsAbout the AuthorPrefaceChapter 1: Combatting the Mind-Body DichotomyA Discussion of the Mind-Body DichotomyMaking the Case for the Body Basis of Knowing—PioneersAccessing the Body Way of KnowingExploration ExperiencesChapter 2: Sensory Reception and Their Contributions to Body KnowledgeHuman Sensory SystemsHuman Sensation and the Mind-Body ConnectionApplications to Learning Movement and DanceExploration ExperiencesChapter 3: Connections between Body, Brain, Mind, and ThinkingThe Body Way of KnowingThe Role of AttentionMental ImageryExploration ExperiencesChapter 4: The Role of the Body in Interpersonal Connections and CommunicationsIntroductionEmpathyNonverbal CommunicationSymbolic CommunicationExploration Experiences Chapter 5: The Body, Movement, Dance, and LearningPopular Learning TheoriesCreativityLearning through the ArtsExploration ExperiencesChapter 6: In Conclusion...Further EvidenceFuture ConsiderationsRecommendationsDiscussionGlossaryIndex
£33.24
Taylor & Francis Reconstructing Performance Art
Book SynopsisThis book investigates the practices of reconstructing and representing performance art and their power to shape this art form and our understanding of it. Performance art emerged internationally between the 1960s and 1970s crossing disciplinary boundaries between performing arts and visual arts. Because of the challenge it posed to the ontologies and paradigms of these fields, performance art has since stimulated an ongoing debate on the most appropriate means to document, preserve and display it. Tancredi Gusman brings together international scholars from different disciplinary fields to examine methods, media, and approaches by which this art form has been represented and (re)activated over time and its transnational history reconstructed. Through contributions and case studies spanning various countries, regions and artistic fields, the authors outline an innovative theoretical-methodological framework for capturing the processes and strategies for transmitting the tangible and intangible heritage of performance art. This book will be of great appeal to students, researchers, and practitioners in the fields of Theatre and Performance Studies as well as Visual Arts and Art History, who have an interest in performance art, its history and presence in the contemporary artistic and cultural landscape.
£37.99
Taylor & Francis Ltd From Playtext to Performance on the Early Modern
Book SynopsisThis book reconsiders the evidence for what we know (or think we know) about early modern performance conditions. This study encourages a new recognition and treatment of certain aspects of the plays as evidence and demonstrates the significance of the implications of that new information. This book is also an assessment of the competing narratives about the processes involved in early modern performance: about the status of manuscript playbooks, about the parts that players memorized, about the functions of the bookkeeper, about casting, about prompting, and about rehearsal practices. Leslie Thomson investigates the bases for the interdependent beliefs that an early modern player relied only on his part to prepare for a performance, that rehearsal was minimal, and that a bookkeeper compensated for these circumstances by prompting any player who was out of his part. By focusing on often ignored (or downplayed) requirements and challenges of early modern play texts, Thomson pTable of ContentsIntroductionPart I: Pre-PerformanceChapter 1: Evidence and TheoriesChapter 2: Rehearsal Reconsidered Part II: In-PerformanceChapter 3: Pronouns in ActionChapter 4: Uncued ActionsChapter 5: Staging Asides Chapter 6: Dumb Shows on StageChapter 7: Doubling and Disguise Chapter 8: Large Properties Off and On StageConclusionIndex
£121.50
Taylor & Francis Ltd Theatre in Towns
Book SynopsisTheatre in Towns offers a contemporary perspective on the role of theatre in the cultural life of towns in England. Exploring volunteer-led, professional and community theatres, this book investigates the rich and diverse ways that theatres in towns serve their locality, negotiate their civic role, participate in networks of mutual aid and exchange, and connect audiences beyond their geographical borders. With a geographical focus on post-industrial, seaside, commuter and market towns in England, the book opens questions about how theatre shapes the narratives of town life, and how localism, networks and partnerships across and between towns contribute to living sustainably. Each chapter is critically and historically informed, drawing on original research in towns, including visits to performances and many conversations with townspeople, from theatre-makers, performers, set-builders, front-of-house volunteers, to audience members and civic leaders. Table of Contents1. Theatres in Towns: Places of Hope and Experiment 2. Local Theatres: Cultures of Participation 3. Making a Civic Spectacle: Towns for Rent 4. Volunteer-led Theatres: Meshworks of a Coastal Town 5. Made to Connect: Theatrical Exchange between Towns and Cities 6. Hopeful Futures: Theatres in Towns
£45.99
Taylor & Francis Ltd Love Is Love Is Love
Book SynopsisThe politics of Broadway musicals matter a great deal more to U.S. American culture than they appear to mean, and they are especially important to mainstream politics surrounding sex, gender, and sexuality. Love Is Love Is Love looks to the Broadway musicals of the past decade for help understanding the current state of LGBTQ politics in the United States. Through analyses of Promises, Promises, Newsies, Hedwig and the Angry Inch, The Color Purple, and Frozen, this book attempts to move past the question of representational politics and asks us instead to think in more complex ways about LGBTQ identity, what LGBTQ politics are, and the politics of Broadway musicals themselves. Producing new, complex readings of all five of these musicals, author Aaron C. Thomas places each of them within the context of the LGBTQ politics of their day. Some of the issues the book treats are controversies of casting, the closetedness and openness of musical theatre, Table of Contents1. Shut Up and Deal 2. It Gets Better Than Boyhood 3. A Gender of One, a Sexuality of Many 4. All My Life I Had to Fight 5. Frozen Eleganza
£34.99
Taylor & Francis Ltd Stanislavsky and Intimacy
Book SynopsisStanislavsky and Intimacy is the first academic edited book with a focus on how intimacy protocols, choreography, and theories intersect with the broad practices of Konstantin Stanislavsky's system'. As the basis for most Western theatre and film acting, Stanislavsky's system centers on truthful performances. Intimacy direction and choreography insists on not only a culture of consent, but also specific, repeatable choreography for all staged intimate moments. These two practices have often been placed as diametric opposites, but this book seeks to dispel this argument. Each chapter discusses specific Stanislavskian principles and practices as they relate to staged sexually intimate moments, also opening the conversation to the broader themes and practices of other kinds of intimacy within the acting field. Stanislavsky And... is a series of multi-perspectival collections that bring the enduring legacy of Stanislavskian actor training into the spotlightTable of Contents1. Consent and Impulse to Action within Intimacy ChoreographyLaura Rikard2. Stanislavsky and Intimacy: The Brain-Body RespondsJoelle Ré Arp-Dunham3. Which Me do you See?: Emotional and Social intimacy, Researched or RevealedChrissie Poulter4. Relaxed Readiness, Increased Awareness, and Intimacy Protocols – Increasing Actors’ Agency and Authenticity in Stanislavsky’s SystemEmily Rollie6. The 5 Pillars of Intimacy and The System: A Springboard for Truth and CreativityD Granke 6. Black Women and The Stanislavsky MethodAnn James7. Stanislavsky and Staged Sexual Intimacy in Film: An Interview with Intimacy Coordinators Vanessa Coffey and David ThackerayVanessa Coffey and David Thackeray, with Joelle Ré Arp-Dunham8. Techniques for Action within Actor Boundaries for Film and TheatrePia Rickman
£35.99
Taylor & Francis Ltd Stanislavsky and Race
Book SynopsisStanislavsky and Race is the first book to explore the role that Konstantin Stanislavsky's system and its legacies can play in building, troubling and illuminating today's anti-racist theatre practices.This collection of essays from leading figures in the field of actor training stands not only as a resource for a new area of academic enquiry, but also for students, actors, directors, teachers and academics who are engaged in making inclusive contemporary theatre. In seeking to dismantle the dogma that surrounds much actor training and replace it with a culturally competent approach that will benefit our entire community, the system is approached from a range of perspectives featuring the research, reflections and provocations of 20 different international artists interrogating Stanislavsky's approach through the lens of race, place and identity.Stanislavsky and is a series of multi-perspectival collections that bring the enduring legacy of StanislavTable of Contents1. Re/Gaining Trust: The "System" and the System of Actor TrainingSylvan Baker, Zuri Eshun and James PalmA Reflection on Re/Gaining Trust: Revelation and ResponsibilityJoe Wilson, Jr2. Black British Perspectives, Pedagogy and Power: Addressing the Canon through S.P.H.E.R.E.Gemma Crooks and Erica Jeffrey3. Logunedé in Salem: Making Sense of Stanislavsky’s Last Experiments in Contemporary Brazil Diego Moschkovich 4. Emotion Memory versus Physical Action: Towards Anti-racist Pedagogies that Make Way for Critical PraxisEvi Stamatiou5. Breaking Away: Latinidad and Moving Beyond the "System"Marissa Chibás, Michelle Jasso and Tlaloc Rivas with Siiri ScottA Reflection on Breaking Away: Looking through All Kinds of Windows Sandra Marquez6. A Jewish Journey: Stanislavsky’s "System" to the American MethodConrad Cohen7. The Intracultural Project: Creating an Inclusive Rehearsal Room Beyond StanislavskyKristine Landon-Smith and Dominic HingoraniA Reflection on The Intracultural Project: Mabuhay as an Act of ResistanceJames Cooney 8. Stanislavsky, Rose McClendon and Reparations: Whiteness, Professionalization and Reframing Amateurism in the Theater of the United StatesAmy Steiger9. I Ain’t Studyin’ Stanislavsky: We Are the Key to Reimagining 21st-Century Actor Training Monica White Ndounou
£35.99
Taylor & Francis Ltd Towards Embodied Performance
Book SynopsisTowards Embodied Performance invites directors and other generative performance makers to experiment with making their own original, visually stunning, sonically immersive, and physically rigorous embodied performance.Through historical context, the author's 30-plus years of experience, and original interviews with leading theatre artists, this book sets the stage for a new generation of artists building boundary-breaking work. Directors are often categorized into one of only two frameworks: the Stanislavskian director, whose method is based on text analysis and character wants and needs, and the auteur director, whose work might focus on visual spectacle at the expense of text or character objectives. This book argues that the director of embodied performance fuses these two approaches, acting as the author of the event. In Part I, readers will explore the core elements of embodied performance space, time, body, language, and action through a lens that bridge
£35.99
Taylor & Francis Ltd Passion and Elegance
Book SynopsisThis book commences with the history of Indian, Egyptian, Arab, and flamenco dance, then compares and contrasts the history of both classical ballet and flamenco.The book outlines the early roots of flamenco in India, and the journey of the Romani through the Middle East and Europe up to their final destination in Spain. Alongside this, the history of classical ballet is detailed from its beginning in Italy to its later development in France. The book spans the period from the temples of India to Massine's Spanish ballet, The Three-cornered Hat, for the Ballets Russes. The chronicle of flamenco''s journey from India to Spain is important to understanding the development of classical ballet as it relates to The Three-cornered Hat, which is the culmination of the story. The evolution of costumes, space, scenery, and props is examined along with the historical parallels.This exploration is set to inspire and encourage choreographers to partner other danc
£49.99
Taylor & Francis Making Meaning in Puppetry
Book SynopsisFrom ice puppets to robots, from intricate marionettes to abstract forms, Making Meaning in Puppetry investigates the elusive and multifaceted how of how puppets make meaning in performance.This engaging collection develops a vocabulary for understanding and articulating how the puppetâs meaning-making systems work across its three distinct parts. Part 1 on Materiality illuminates how materials are chosen and dramaturgy is crafted into a puppetâs design; Part 2 on Performance investigates the interresponsive collaboration between puppet and puppeteer; and Part 3 on Perception considers how spectators understand and read a puppet production. The volume thus traces the full evolution of a puppet, from its raw materials, to its performance possibilities, to the moment it comes to imagined life. The seventeen chapters, authored by experts in the field, build bridges between puppetry and related fields, such as robotics, phenomenology, cognitive science, and queer theory, while using the puppet as their primary anchor of analysis. Making Meaning in Puppetry is ideal for students of theatre and performance studies, theatre artists, scholars, and anyone who is fascinated by this rich performance form and wants to understand it more deeply.
£37.99
Taylor & Francis Ltd Black Women Centre Stage
Book SynopsisThis book examines the political alliances that are built across the diaspora in contemporary plays written by Black women playwrights in the UK.Through the concept of creative diasporic solidarity, it offers an innovative theoretical approach to examine the ways in which the playwrights respond creatively to the violence and marginalisation of Black communities, especially Black women. This study demonstrates that theatre can act as a productive space for the ethical encounter with the Other (understood in terms of alterity, as someone different from the self) by examining the possibilities of these plays to activate the spectators' responsibility and solidarity towards different types of violence experienced by Black women, offering alternative modes of relationality. The book engages with a range of contemporary works written by Black women playwrights in the UK, including Mojisola Adebayo, Theresa Ikoko, Diana Nneka Atuona, Gloria Williams, Charlene James or Yusra WarsamaTable of Contents1. Toward A Theoretical Model Of Solidarity in Black British Theatre 2. Choral Amplification and Theatrical Activism in The Interrogation of Sandra Bland 3. Interpellation and Immersive Theatre. The Limitations of Solidarity in Theresa Ikoko’s Girls and Diana Nneka Atuona’s Liberian Girl 4. “Let Us Start by Listening”. Oppositional Dialogues in Gloria William’s Bullet Hole, Charlene James’s Cuttin’ It, Cora Bissett and Yusra Warsama’s Rites and Mojisola Adebayo’s Stars 5. In Conversation with Mojisola Adebayo
£128.25
Taylor & Francis Immersive Storytelling and Spectatorship in
Book SynopsisImmersive Storytelling and Spectatorship in Theatre, Museums, and Video Games is the first volume to explore immersion as it is experienced in all three of these storytelling forms: the theatre, museums and historic sites, and video games. It theorizes what it means for a work to be called immersive and how immersion impacts audience experience in each of these modes.The presentation of story is deepened when it involves the spectator in an immersive way. Author Kelly I. Aliano concentrates on the central idea that the use of immersion in each medium allows the story being told to feel present for the spectator. It puts them at the center of the experience, making its events for and about them. Throughout, the book discusses how immersion is employed to make narrative feel more resonant and relevant for the audience. Analyzing the impact of offering a first-hand experience of story events, this book looks at how immersive storytelling can highlight the ways in which we
£37.99
Taylor & Francis Dramaturgies of Immersion
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£37.99
Taylor & Francis A History of Intimacy Professionals in
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£32.99
Taylor & Francis The Art of Drag
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£34.19
Taylor & Francis Aerial Arts and Dance Improvisation
a huge range and FREE tracked UK delivery on ALL orders.
£37.99
Taylor & Francis Monstrous Utopias
a huge range and FREE tracked UK delivery on ALL orders.
£37.99
Taylor & Francis The Black Dance Movement in England 1940 â 2000
a huge range and FREE tracked UK delivery on ALL orders.
£37.99
Taylor & Francis Ltd New Music Theatre in Europe
Book SynopsisBetween 1955 and 1975 music theatre became a central preoccupation for European composers digesting the consequences of the revolutionary experiments in musical language that followed the end of the Second World War. The new music theatre' wrought multiple, significant transformations, serving as a crucible for the experimental rethinking of theatrical traditions, artistic genres, the conventions of performance, and the composer's relation to society. This volume brings together leading specialists from across Europe to offer a new appraisal of the genre. It is structured according to six themes that investigate: the relation of new music theatre to earlier and contemporaneous theories of drama; the use of new technologies; the relation of new music theatre to progressive politics; the role of new venues and environments; the advancement of new conceptions of the performer; and the challenges that new music theatre lays down for music analysis. Contributing authors address caTrade ReviewThis excellent collection of insightful, rich, and sometimes genuinely provocative readings of a kaleidoscope of music theatrical practices from a diverse, but uniformly first-rate panel of scholars, consistently delivers fresh insights into not only what the music theatre of the post-war era meant then, but also how it might still speak today. - Martin Iddon, University of Leeds, UKWith a strong array of contributors, this collection reveals how conceptions of music theatre from the long 1960s challenged established conventions of music. The volume combines historical depth with insights on how trends in music theatre resonate with the current interest in music as a multi-media experience. - Alastair Williams, Keele University, UKTable of ContentsIntroduction ROBERT ADLINGTON PART I: Between the avant-gardes: new music theatre and new conceptions of drama 1. The definition of a new performance code between ‘avant-garde’ and ‘new’ theatre STEFANIA BRUNO 2. Total theatre and music theatre: tracing influences from pre- to post-war avant-gardes JULIA H. SCHRÖDER 3. Theatre as problem: modern drama and its influence in Ligeti, Pousseur and Berio VINCENZINA C. OTTOMANO PART II: Expansions of technology 4. Audio-visual collisions: moving image technology and the Laterna Magika aesthetic in new music theatre HOLLY ROGERS 5. Composing new media: magnetic tape technology in new music theatre, c. 1950–1970 ANDREAS MÜNZMAY PART III: The critique of established power 6. Guerrilla in the Polder: Music-Theatrical Protests in the Low Countries, 1968-1969 HARM LANGENKAMP 7. René Leibowitz’s Todos caerán: grand opéra as (critique of) new music theatreESTEBAN BUCH PART IV: New venues and environments 8. A survey of new music theatre in Rome, 1961-1973: ‘anni favolosi’? ALESSANDRO MASTROPIETRO 9. Avant-garde music theatre: the Festival d’Avignon between 1967 and 1969 JEAN-FRANÇOIS TRUBERT PART V: Reconceiving the performer 10. Reconceptualising the performer in new music theatre: collaborations with actors, mimes and musicians DAVID BEARD 11. Embodied commitments: solo performance and the making of new music theatre FRANCESCA PLACANICA PART VI: Analyzing new music theatre 12. New music theatre and theories of embodied cognition BJÖRN HEILE 13. Analyzing new music theatre: theme and variations (in a multimedial perspective) ANGELA IDA DE BENEDICTIS
£128.25
Taylor & Francis Dramaturgy and Anatomy of Dramatic Structures
Book SynopsisHow are plays constructed? Taking this essential question and looking at a broad range of Western plays, from Greek tragedies through Ibsen, we can discern a remarkably stable set of dramaturgical principles.Some dramatists adhere to traditional principles to create meaning, while others delight in bending or breaking these conventions, seeking new ways to express meaning. In this book, Michael Evans discusses what he calls âœstandard dramaturgyâ â a set of seven principles upon which most plays, from ancient Greek dramas to modern works, are based. He teases out seven traits found in most plays written before 1900 â and many popular plays and films since then. The book then looks at these key traits and how the playwrights of the Modernist era deliberately subvert them to create new methods of meaning. Examining each of these traits with well-chosen examples from dramatic literature, the book highlights these traits and illustrates how dramaturgs can understand instances of
£52.20
Taylor & Francis Ltd The Creative Critic
Book SynopsisAs practitioner-researchers, how do we discuss and analyse our work without losing the creative drive that inspired us in the first place?Built around a diverse selection of writings from leading researcher-practitioners and emerging artists in a variety of fields, The Creative Critic: Writing as/about Practice celebrates the extraordinary range of possibilities available when writing about one's own work and the work one is inspired by. It re-thinks the conventions of the scholarly output to propose that critical writing be understood as an integral part of the artistic process, and even as artwork in its own right.Finding ways to make the intangible nature of much of our work count' under assessment has become increasingly important in the Academy and beyond. The Creative Critic offers an inspiring and useful sourcebook for students and practitioner-researchers navigating this area.Please see the companion site to the book, http://wwwTable of ContentsForeword Jane Rendell; Introduction Orley and Hilevaara; Section One: Manifesto (How); I Am for an Art Writing Susannah Thompson; Lyric Theory PA Skantze; Notitia, Trust, and Creative Research Iain Biggs; Writing Without Writing: Conversation as Material Emma Cocker; The Distracted Cyclist G D White; Footnoting Performance Mike Pearson; An extract from Asara and the Sea-Monstress: a Play with Theory Mojisola Adebayo; Same Difference Nic Conibere; Critical groundlessness: Reflections on embodiment, virtuality and Quizoola LIVE Diana Damian Martin; A Conjuring Act in The Form of an Interview Augusto Corrieri; Yoko Ono Fanfiction owko69 (Owen G. Parry); A Fugue State of Theatre Joe Kelleher; Writing with fungi, contagious Taru Elfving; Middleword One Peter Jaeger; Section Two: Position (Where); The Blind & Deaf Highway Woman Undine Sellbach and Stephen Loo; Writing about the Sound of Unicorns Salome Voegelin; Far Stretch – Listening to Sound Happening Ella Finer; Instructions for Literature and Life: Writing-With Landscape Performances of Joy Helene Frichot; Thirteen Points, Expanded Kristen Kreider and James O’Leary; Returning in the House of Democracy Brigid McLeer; Dancing Architecture: Architect-Walking Cathy Turner; Dolphin Square to MI6 Walk – produced by Disappearing, almost Phil Smith; It Moves: reflections on walking as a practice of writing Mary Paterson; In departures, not departing Tim Etchells; Within the margarine of error: on performing Michael Basinski’s ‘The Germ of Creativity’ Chris Goode; Elfie und Elsinore (fur Heidi) Hayley Newman; Marking a Life Mitch Rose; Middleword Two Maria Fusco; Section Three: Beside-ness (Whom); Stains & Other Traces: Notebooks and Critical Practice Simon Piasecki; An Actor’s Attempt at Sisyphus’ Stone: Memory, Performance and Archetype Goze Saner; 81 Sentences for Squat Theater circa 1981 Lin Hixson and Matthew Goulish; Language, Lips and Legacy: a pedlar’s life for me Tracy McKenna; A Series of Continuous Accidents Rajni Shah; The Construction of Self(ies) Joanne ‘Bob’ Whalley & Lee Miller; The Path on the Floor and Other Uses of Hand-drawing Karen Christopher; Searching for the ‘bandaged place’ Louise Tondeur; The Catalogue for the Public Library of Private Acts Johanna Linsley; Field Notes from a Choreographic Practice Lucy Cash; K.Bae.Tré Douglas Kearney; Middleword Three Timothy Matthews; Afterword Jane Rendell
£36.99
Taylor & Francis Benjamin Britten and Montagu Slaters Peter Grimes
Book Synopsis âWho can turn skies back and begin again?â-PeterThis book contends that Peter Grimes, widely regarded as one of the greatest and most influential operas of the 20th century, is also one of the British theatreâs finest âlostâ plays. Seeking to liberate Britten and Slaterâs work from the blinkered traditions of theatre and opera criticism, Sam Kinchin-Smith poses two questions: If an opera was created like a play, and can be staged as a play, is it a play? If a portion of its success and influence is the product of this newly identified theatrical engine, is it then a great play? The answers involve Wagner and W.G. Sebald, George Crabbe and ComplicitÃ, Akenfield and Twin Peaks. Challenging long-established narratives of post-war theatre history, this book makes a compelling case for why practitioners and scholars of performance ought to pay more attention to Britten and Slaterâs achieTable of Contents1. Grimes on the Beach 2. Opera as Theatre: Why Peter Grimes is a Play 3. The Suffolk Renaissance: Why Peter Grimes is a Great Play
£14.64
Taylor & Francis Ltd The TwentyFirst Century Performance Reader
Book SynopsisThe Twenty-First Century Performance Reader combines extracts from over 70 international practitioners, companies, collectives and makers from the fields of Dance, Theatre, Music, Live and Performance Art, and Activism to form an essential sourcebook for students, researchers and practitioners. This is the follow-on text from The Twentieth-Century Performance Reader, which has been the key introductory text to all kinds of performance for over 20 years since it was first published in 1996. Contributions from new and emerging practitioners are placed alongside those of long-established individual artists and companies, representing the work of this century's leading practitioners through the voices of over 140 individuals. The contributors in this volume reflect the diverse and eclectic culture of practices that now make up the expanded field of performance, and their stories, reflections and working processes collectively offer a snapshot of contemporarTable of ContentsAcknowledgementsIn Dialogue...Introduction Action Hero WHAT’S LOVE GOT TO DO WITH IT? GEMMA AND JAMES AND ACTION HERO Mohammad Aghebati INTERVIEW Patricia ArizaINTERVIEW Back to Back Theatre ON MAKING THEATRE Brett Bailey INTERVIEW Dalia Basiouny PERFORMANCE THROUGH THE EGYPTIAN REVOLUTION: STORIES FROM TAHRIR Jérôme Bel INTERVIEW Blast Theory ULRIKE AND EAMON COMPLIANT: ARTISTS’ STATEMENT Tammy Brennan CONFINED: STAGING/IMAGE MOMENTS Tania Bruguera INTERVIEW Builders Association MARIANNE WEEMS IN CONVERSATION WITH ELEANOR BISHOP Liu Chengrui A SELECTION OF ACTIONS Padmini ChetturSOME THOUGHTS FOR THE FUTURE Constantin Chiriac INTERVIEW David Chisholm THE MEMORY OF REMEMBERING: EXOMOLOGESIS AND EXAGOREUSIS IN THE EXPERIMENT Clod Ensemble CLOD ENSEMBLE: PERFORMING MEDICINE María José Contreras THE BODY OF MEMORY: MARIA JOSE CONTRERAS’ PERFORMANCE PRACTICES IN THE CHILEAN TRANSITION Augusto Corriere A CONJURING ACT IN THE FORM OF AN INTERVIEW Tim Crouch INTERVIEW Dah Theatre SOME THOUGHTS ON THE QUALITY OF ATTENTION Tess de Quincey A FUTURE BODY Derevo ENDLESS DEATH SHOW Dood Paard ABOUT US Every House Has A Door FROM ONE MEANING TO ANOTHER Eleonora Fabião THINGS THAT MUST BE DONE SERIES Oliver Frljić INTERVIEW Gecko AN ORGANIC JOURNEY GETINTHEBACKOFTHEVAN MAKING THINGS WORSE Gibson/Martelli THE FIFTH WALL Gob Squad ON PARTICIPATION Heiner Goebbels AESTHETIC OF ABSENCE: HOW IT ALL BEGAN Chris Goode THE CAT TEST Shirotama Hitsujiya INTERVIEW Hotel Pro Forma PERFORMANCE AS AN INVESTIGATION OF THE WORLD Wendy Houstoun SOME BODY AND NO BODY: THE BODY OF A PERFORMER Imitating The Dog THEATRICALISING CINEMA/SCREENING THEATRE Hiwa KINTERVIEW La Fura dels Baus INTERVIEW Lone Twin INTERVIEW Silvia Mercuriali INTERVIEW Monster Truck BUT THE WHORES ALWAYS LOVED ME NeedcompanyINTERVIEW New Art Club HOW WE SET OUT TO MAKE A PIECE ABOUT CONTROVERSIAL WORKS OF ART AND ENDED UP GETTING NAKED AND TALKING ABOUT HOW WE FEEL ABOUT OUR BODIES Kira O’Reilly THE ART OF KIRA O’REILLY Oblivia TIME STOPPER Toshiki Okada INTERVIEW Ontroerend Goed PERSONAL TRILOGY: THE SMILE OFF YOUR FACE, INTERNAL & GAME OF YOU Mike Pearson BUBBLING TOM Michael Pinchbeck THIS IS A LOVE LETTER Punchdrunk INTERVIEW Silviu Purcārete WHERE ARE YOUR TRAINING GROUNDS? Quarantine A SHOW OF HANDS Reckless Sleepers "MIDDLES" & "PHYSICS" Ridiculusmus A CHAT ABOUT COMEDY Rimini Protokoll INTERVIEW Farah Saleh INTERVIEW Peter SellarsINTERVIEW Shunt A PERFORMANCE COLLECTIVE Agata Siniarska DO IT TO ME LIKE IN A REAL MOVIE: LECTURE PERFORMANCE Deepan Sivaraman INTERVIEW Sleepwalk Collective LOST IN THE FUNHOUSE, OR ALL YOU NEED TO MAKE A SHOW IS A GIRL AND A MICROPHONE Andy Smith THIS IS IT: NOTES ON A DEMATERIALISED THEATRE Socìetas Raffaello Sanzio THE THEATRE IS NOT OUR HOME: A CONVERSATION ABOUT SPACE, STAGE AND AUDIENCE Junnosuke TadaINTERVIEW Third AngelTESTING THE HYPOTHESIS Ultima Vez INTERVIEW UnlimitedAM I DEAD YET? Sankar VenkateswaranTHEATRE OF THE MIND Dries VerhoevenINTERVIEW Vincent Dance TheatreTHE ART OF NOT LOOKING BACK / MOTHERLAND Aaron WilliamsonDEMONSTRATING THE WORLD – A PUBLIC INTERVENTION PERFORMANCE Xing XinINTERVIEW Andriy ZholdakTHEORY / LECTURES OF ANDRIY ZHOLDAK Index
£49.99
Taylor & Francis Ltd The Routledge Companion to Dramaturgy
Book SynopsisDramaturgy, in its many forms, is a fundamental and indispensable element of contemporary theatre. In its earliest definition, the word itself means a comprehensive theory of play making. Although it initially grew out of theatre, contemporary dramaturgy has made enormous advances in recent years, and it now permeates all kinds of narrative forms and structures: from opera to performance art; from dance and multimedia to filmmaking and robotics.In our global, mediated context of multinational group collaborations that dissolve traditional divisions of roles as well as unbend previously intransigent rules of time and space, the dramaturg is also the ultimate globalist: intercultural mediator, information and research manager, media content analyst, interdisciplinary negotiator, social media strategist.This collection focuses on contemporary dramaturgical practice, bringing together contributions not only from academics but also from prominent working dramaturgs. The incTrade Review“Romanska has put together a robust, impressively comprehensive volume that covers the ever-broadening scope of contemporary dramaturgy within a global context… this volume reveals the established, emerging, and imagined ideas of what dramaturgy is and could be… [it] is destined to become a go-to reference for practitioners and students of dramaturgy, along with directors, critics, playwrights, and theater scholars. Highly recommended.” - Choice"It is not overstating the case to say that this volume will for sure be the book of reference for students, scholars, and dramaturgs in the fields named above if it comes to questions of dramaturgy. The Routledge Companion to Dramaturgy goes far beyond a conventional handbook on dramaturgy as a way to structure a text to be staged. Rather, it claims attention to and evokes interest for the variety of a concept and a profession that not only covers crucial aspects of the field, but also implicitly highlights the richesse of dramaturgy as a field of study and therefore advocates theatre, performance and media studies as important disciplines that have a long history whose end is not in sight." - Journal of Contemporary Drama in English"A wide range of working methods in postdramatic theatre outlined in clear terms."- Theatralia"A timely gift to the world of contemporary theatre."- American Theatre"A singular, vital, and necessary contribution to the field."- Platform: Postgraduate Journal of Theatre Arts"An indispensable resource for anyone serious about dramaturgy."- Contemporary Theatre Review"The Routledge Companion to Dramaturgy will prove highly useful in theatre and performance practice, education, and scholarship."- Theatre Survey "Offers an impressive range of voices and insights into dramaturgical practice." - Theatre Research International Table of ContentsIntroductionMagda RomanskaPart I World dramaturgy in the twenty-first century1 Robert Blacker looks at the past and future of American dramaturgyJacob Gallagher-Ross and Robert Blacker2 Contemporary new play dramaturgy in CanadaBrian Quirt3 Collaborative dramaturgy in Latin American theaterMargarita Espada4 Documentary dramaturgy in BrazilJulie Ann Ward5 The place of a dramaturg in twenty-first century EnglandDuška Radosavljević6 On German DramaturgyBernd StegemannTranslated by Johannes Stier7 The making of La Dramaturgie in FranceKate Bredeson8 Dramaturgy and the role of the dramaturg in PolandAgata DąbekTranslated by Michael Leonard Kersey Morris9 The new play dramaturgy in RussiaPavel RudnevTranslated by Jessica Hinds-Bond10 Dramaturgy in post-revolution Iran: problems and prospectsMarjan Moosavi11 Performing dramaturgy in Syria: observations and interview with Mayson AliFadi Fayad Skeiker12 Official and unofficial dramaturgs: dramaturgy in ChinaWilliam Huizhu Sun13 Dramaturgy of Separated Elements in the Experimental Japanese TheatreEiichiro Hirata14 Dramaturgy in Indian theatre: a closer viewKetaki Datta15 Dramaturgy in Australia and the case of Avast and Doku RaiPeter Alexander Eckersall16 Dramaturgies in/of South AfricaMarié-Heleen Coetzee and Alan MunroPart II Dramaturgy in the age of globalization17 The dramaturg as globalistTom Sellar18 Freelance dramaturgs in the twenty-first century: journalists, advocates, and curatorsAnne Hamilton19 The National Theatre goes international: global branding and the regionsJens Peters20 From alienation to identity: transnational communication of Russian-Israeli theatreMiriam Yahil-Wax21 Intercultural dramaturgy: dramaturg as cultural liaisonWalter Byongsok Chon22 The dramaturgical bridge: contextualizing foreignness in multilingual theatreDebra Caplan23 Reading and (re)directing "racial scripts" on and beyond the stageFaedra Chatard Carpenter24 Transcultural dramaturgy methodsJudith Rudakoff25 The dramaturgical process and global understandingRobyn Quick26 European dramaturgy in the twenty-first centuryMarianne Van KerkhovenPart III Dramaturgy in motion: demolitions, definitions, and demarcations27 Dramaturgy on shifting groundsHans-Thies Lehmann and Patrick Primavesi28 Dramaturgy as skill, function, and verbLawrence Switzky29 Interactual dramaturgy: intention and affect in interdisciplinary performanceBruce Barton30 The expansion of the role of the dramaturg in contemporary collaborative performanceSarah Sigal31 Who is the dramaturg in devised theatre?Teresa Stankiewicz32 Finding our hyphenates: a new era for dramaturgsJessica Applebaum33 Dramaturgy as a way of looking into the spectator’s aesthetic experienceMilan Zvada34 Dramaturgy as training: a collaborative model at Shakespeare’s GlobeAmy Kenny35 The art of collaboration: on dramaturgy and directingAnne Bogart and Jackson Gay36 Dramaturgy in action{...}even if it’s not as a dramaturgThomas A. OldhamPart IV Dramaturgs as artistic leaders and visionaries: privileges and responsibilities of the office37 Dramaturgs as artistic leadersGideon Lester38 Dramaturgical leadership and the politics of appeal in commercial theatreKen Cerniglia39 On dramaturgy and leadershipVicki Stroich40 Leadeship advice to a dramaturgy studentAnne Cattaneo41 Season planning: challenges and opportunitiesEdward Sobel42 The dramaturg’s role in diversity and audience developmentJulie Felise Dubiner43 Guthrie Theater’s debt to women and diversityMarianne Combs44 Reimagining the literary office: designing a department that fulfills your purposeJanine Sobeck45 The National New Play Network Collaborative Literary Office: new tools for old tricksJason Loewith and Gwydion SuilebhanPart V Dramaturg as context manager: transculturalism, translation, adaptation, and contextualization46 A view from the bridge: the dramaturg’s role when working on a play in translationKatalin Trencsényi47 Lost in translationGitta Honegger48 The dissemination of theatrical translationAdam Versényi49 Literary adaptation for the stage: a primer for adaptation dramaturgsJane Barnette50 Intermingling literary and theatrical conventionsTomasz Wiśniewski51 Research strategies in dramaturgical practiceMatt DiCintio52 Dramaturg as context manager: a phenomenological and political practiceGraça Corrêa53 New play explorations in the twenty-first centuryMark Bly54 Thinking like an actor: a guide for the production dramaturgAndrew Ian Carlson55 The youth respondent method: new work development for Theatre for Young AudiencesKristin LeaheyPart VI Dramaturgy among other arts: interdisciplinarity, transdisciplinarity, and transvergence56 Complex in-betweeness of dramaturgy and performance studiesMarin Blažević57 The dramaturg(ies) of puppetry and visual theatreDassia N. Posner58 A method for musical theatre dramaturgyBrian D. Valencia59 Borderless dramaturgy in dance theatreVessela S. Warner60 The role of the dramaturg in the creation of new opera worksAndrew Eggert61 Dramaturgy and filmGerry Potter62 Phronesis for robots: (re)covering dramaturgy as an InterdisciplineMichael Chemers63 Dramaturgical design of the narrative in digital gamesKlaus P. Jantke64 New media dramaturgyPeter Eckersall, Helena Grehan, and Edward Scheer65 The science of dramaturgy and the dramaturgy of scienceJules Odendahl-JamesPart VII Dramaturg as systems analyst: dramaturgy of postdramatic structures66 Postdramatic dramaturgyGad Kaynar67 Teaching deconstructivelyBarbara Johnson68 EF’s visit to a small planet: some questions to ask a playElinor Fuchs69 Dramaturging non-realism: creating a new vocabularyTori Haring-Smith70 On dramaturgy in contemporary dance and choreographySandra Noeth71 Research, counter-text, performance: reconsidering the (textual) authority of the dramaturgD. J. Hopkins72 The bead diagram: a protean tool for script analysisShelley Orr73 Methods for a new dramaturgy of digital performanceJodie McNeilly74 Drametrics: what dramaturgs should learn from mathematiciansMagda Romanska75 Parallel-text analysis and practical dramaturgiesToby MalonePart VIII Dramaturg as public relations manager: immersions, talkbacks, lobby displays, and social networks76 Dramaturgy and the immersive theatre experienceCatherine Bouko77 Barrack-dramaturgy and the captive audienceAndrás Visky78 Framing the theatrical experience: lobby displaysMiriam Weisfeld79 Dramaturg as public relations managerKatie Rasor80 Talkbacks: asking good discussion questionsJodi Kanter81 Talkbacks for "sensitive subject matter" productions: the theory and practiceMartine Kei Green-Rogers82 Dramaturgies for the digital ageIlinca Todoruț83 Digital engagement: strategies for online dramaturgyTanya Dean84 Digital dramaturgy and digital dramaturgsLaRonika Thomas85 Can technology save theatre? Tweet Seats, YouTube auditions, and Facebook backstage?Randi Zuckerberg
£36.99
Bloomsbury Publishing PLC Making Hip Hop Theatre
Book SynopsisMaking Hip Hop Theatre is the essential, practical guide to making hip-hop theatre. It features detailed techniques and exercises that can guide creatives from workshops through to staging a performance. If you were inspired by Hamilton, Barber Shop Chronicles, Misty, Black Men Walking or Frankenstein: How to Make a Monster, this is the book for you. Covering vocal technique, use of equipment, mixing, looping, sampling, working with venues and dealing with creative challenges, this book is a bible for both new and experienced artists alike. Additionally, with links to online video material demonstrating and elaborating on the exercises included, it offers countless useful tools for teachers and facilitators of drama, music and other creative arts. Alongside this practical guidance is an overview of hip hop history, giving theoretical and historical context for the practice. From documentation of Conrad Murray's major productions, to commentary from leading practitiTable of ContentsOn Collaboration and the Voices in this Book Our Collaborators Why We Wrote This Some Introductions - Hip hop culture: A brief history - Conrad on Hip Hop - Katie on Hip Hop - Our Collaborators on Hip Hop - Conrad on the Battersea Arts Centre (the venue where it all began) - The Beatbox Academy: How it Began Part One: Getting Started - Principles of Hip Hop - Warm Ups - Beatbox Basics - Progressing Technique - Equipment - Further Resources - Ending Sessions Part Two: Developing Ideas and Making a Living - Principles for Working With… - Stimulus and Starting Points - Practical tips for Starting a Theatre Career Part Three: How We Made It - Hitler Wrote 20 Pop Songs…Have You Heard Them? - No Milk for the Foxes - DenMarked - High Rise eState of Mind - Frankenstein: How to Make a Monster Against Spoken Word! Acknowledgements Index
£24.69
Manchester University Press Unlimited Action: The Performance of Extremity in
Book SynopsisUnlimited action concerns the limits imposed upon art and life, and the means by which artists have exposed, refused, or otherwise reshaped the horizon of aesthetics and of the practice of art, by way of performance art. It examines the ‘performance of extremity’ as practices at the limits of the histories of performance and art, in performance art’s most fertile and prescient decade, the 1970s. Dominic Johnson recounts and analyses game-changing performance events by six artists: Kerry Trengove, Ulay, Genesis P-Orridge, Anne Bean, the Kipper Kids, and Stephen Cripps. Through close encounters with these six artists and their works, and a broader contextual milieu of artists and works, Johnson articulates a counter-history of actions in a new narrative of performance art in the 1970s, to rethink and rediscover the history of contemporary art and performance.Trade Review'A deeply fascinating, wide ranging and hard-thinking book about material often seen as “difficult” or “extreme”. If I wanted one single guide who could reliably lead me through material which is so often misrepresented, I'd turn to Dominic Johnson, who surely is one of the most astute, knowledgeable and hard-thinking commentators on contemporary performance practices.' Simon Shepherd, Professor Emeritus of Theatre, CSSD, The University of London'With Unlimited action: The performance of extremity in the 1970s Dominic Johnson brings his incisive mind to 1970s performances that point to or beyond art’s (and the body’s) limits. The book is invaluable in expanding our understanding of the work of key artists, including Ulay and Anne Bean, but also in addressing how extreme performances echo and amplify the volatile political texture of US and UK societies in a key decade for the expansion of contemporary art beyond the object.'Amelia Jones, Robert A. Day Professor, Roski School of Art and Design, University of Southern California'Dominic Johnson’s work engages performance art of the 1970s that sought to defy conventional notions of life and art. The case studies within each chapter form a sort of history. Not a linear narrative, but rather, a constellation of extremities that revel in their distance from the institutional frameworks that contextualize each performance.'The Drama Review -- .Table of ContentsIntroduction: Performance – action – extremity1 The preferred ordeal2 A criminal touch3 The dirtying intention4 Impossible things5 The art of sabotageConclusion: Reckless peopleIndex
£18.04
Vernon Press Theatre as Alter/ Native in Derek Walcott
Book Synopsis
£38.00
Reaktion Books Joseph Beuys
Book SynopsisJoseph Beuys is arguably the most important and most controversial German artist of the late twentieth century, not least because his persona is interwoven with Germany's fascist past. This book illuminates two defining threads in Beuys's life and art: the centrality of trauma, and his sustained investigation of the very notion of art itself. In addition to the materials of fat and felt that Beuys used widely in his oeuvre, numerous Beuys artworks are autobiogra-ph-ical in content. His self-woven legend of rescue and redemption still strikes many as a highly inappropriate fantasy, or even an outright lie, located as it is in the harrowing context of the Second World War as it was lived by a German soldier or 'Nazi'. Nevertheless, Beuys's self-mythology confronted the post-traumatic, foregrounding his struggle for psychic recovery. Perhaps most importantly, this led to his major efforts to expand Western art, freeing artists after him to work in a thoroughly interdisciplinary way and to embrace anthropological conclusions about art and culture. Beuys's lived experience determined a consistent commitment to peaceful change and positive transformation not only through his work, but in the discussions and institutions he initiated. His notion of activism-as-art has not only become a widespread practice, but is predominant in contemporary art of the twenty-first century. Exploring Beuys's expansive conception of art and following him into the realms of science, politics and spirituality, this book, in contrast to many other accounts of Beuys's life, attributes extraordinary importance to his own myth-making as a positive force in the post-war confrontation of Germany's past.Trade Review..". presents an informative discourse of Beuysian work and 21st century art by addressing issues such as how the current practice of established codes of meaning and iconography fit Beuys' model. In doing so, this reader successfully meets its main aim, which was to reopen an 'international discussion on Joseph Beuys and his work.'" contemporary (U.K.)
£15.26
Manchester University Press Performance Art in Eastern Europe Since 1960
Book SynopsisThis volume presents the first comprehensive academic study of the history and development of performance art in the former communist countries of Central, Eastern and South Eastern Europe since the 1960s. Covering 21 countries and more than 250 artists, this text demonstrates the manner in which performance art in the region developed concurrently with the genre in the West, highlighting the unique contributions of Eastern European artists. The discussions are based on primary source material-interviews with the artists themselves. It offers a comparative study of the genre of performance art in countries and cities across the region, examining the manner in which artists addressed issues such as the body, gender, politics and identity, and institutional critique.Trade Review‘By highlighting an instance in which documentation functioned as a substitute for presence, Bryzgel weighs in on art-historical debates regarding the relationship between live art and photography. It is at moments like this that Performance Art inEastern Europe since 1960 most succeeds in its stated aim of ‘looking not from the centre to the periphery but the reverse, to see how such an approach might not only challenge but also overturn perceptions regarding art history, artistic styles, and the canon’ (p. 5).’Michelle Maydanchik, University of Pittsburgh, Slavonic and East European Review (vol. 95, no. 4, October 2017)‘Bryzgel’s text will interest especially those invested in the rapidly expanding field of Central and Eastern European art history and Cold War cultural studies. Its wide swathe of information illustrates the variety and intrigue of performance art in the Cold War East and will surely entice many curious onlookers to storm the field.’ - Sara Blaylock, University of Minnesota–Duluth, CAA Reviews‘Like any good art historical study the book goes beyond shedding lighton an obscure moment in history, bearing much relevance to contemporary artistsworking in the West today. In this respect, a great strength of the book is itsintimate analysis of the operation of the strategy of ‘Subversive Affirmation’in the communist era.’Pil and Galia Kollectiv, Journal of Contemporary Central andEastern Europe‘The material provided contributes to the expanded fields of performance studies and art history by offering a rich and fascinating overview of the overlooked artistic practices in Eastern Europe. Furthermore, Bryzgel’s approach should challenge the reader’s perception of histories of art and performance shaped through the lens of the West.’Sofia Vranou, Queen Mary University of London, Contemporary theatre review, Volume 28, 2018 – Issue 1‘Bryzgel’s text will interest especially those invested in the rapidly expanding field of Central and Eastern European art history and Cold War cultural studies. Its wide swathe of information illustrates the variety and intrigue of performance art in the Cold War East and will surely entice many curious onlookers to storm the field.’Sara Blaylock, University of Minnesota–Duluth, CAA Reviews‘This is a richly researched and beautifully illustrated book, which makes a major contribution to the field's ability to connect the art histories of these countries to the global history of performance art. It will be an indispensable tool for teachers looking to expand offerings in this area, which as Bryzgel observes, Anglophone art history curricula most often exclude (4).’Adair Rounthwaite, University of Washington in Seattle, Art Journal, Volume 77, 2018 - Issue 1‘Bryzgel's consistent comparison of works from different Eastern European countries helps (re)construct a performative space on its own cultural and political terms. In addition, the many illustrations are a visual treat and help readers imagine the performances discussed. As a Romanian-born writer and director who resided and worked in Bucharest until 2000, I must agree with Bryzgel: given the linguistic, political, and economic barriers, living in Eastern Europe before and even after 1989 does not guarantee that one knows the work of artists there, nor that they know of each other's work. In this and many other ways, the informative value of Bryzgel's study is remarkable for both Western and Eastern scholarship.’Diana Manole, Ryerson University, Theatre Survey, Volume 59, Issue 2, May 2018 , pp. 298-300‘With this recent study, she [Bryzgel] introduces much-needed perspectives from artists who were challenged by socioeconomic conditions while maintaining their artistic research, in spite of the political regimes under which they were forced to live. The new material explored in this book usefully documents and analyzes works that have led to the beginnings of performance studies in Eastern Europe.’Cristina Modreanu, art curator and critic, New York/Bucharest, PAJ: A Journal of Performance and Art, Volume 40, Number 2, May 20187 (PAJ 119)‘Too often, Eastern Europe is treated as the “other” and on the margins of Europe’s new geopolitical, economic, and cultural fault lines, but thanks to Bryzgel, the region is now resituated as an important focal point for understanding the art practices of the late twentieth and early twenty-first centuries in ways that venture beyond the generalized divide between the capitalist West and socialist East.’-Aleksandra Jovicevic, Modern Drama, vol. 61/no. 2 (Summer 2018)‘Performance Art in Eastern Europe since 1960 is an important contribution to the study of Eastern European art and will be instructive to those interested in Eastern European studies, art history, and performance art. It introduces the reader to a variety of artists, both established and fairly unknown, and paints a rich picture of the complex history of performance art and experimental culture in Eastern and Central Europe. As an introduction to performance in Eastern Europe, the text broadens art historical scholarship and opens a myriad of possible paths for further research that hopefully will be tackled by scholars in the future.’Anja Foerschner , The Getty Research Institute -- .Table of ContentsIntroduction1. Sources and origins2. The body3. Gender4. Politics and identity5. Institutional critiqueEpilogueSelect bibliographyIndex
£23.84
Intellect Books Responding to Site: The Performance Work of
Book SynopsisThis book focuses on the performance art of Marilyn Arsem, an internationally acclaimed performance artist known for her innovative and experimental work. Arsem’s work addresses women’s history and myth-making capacities, the potency of site and geography, the idea of the audience as witnesses and the intimacy of one-to-one works. One of the most prolific performance artists working in the United States today, Arsem performs carefully choreographed durational actions that are developed site-responsively and range from deceptively simple interventions to elaborately orchestrated actions. This edited volume seeks to extend Arsem’s legacy beyond the audiences of her live performances and enter her work into the lexicon of the art world. Accompanied by 200 images, this book will be of interest to scholars and students of performance studies, feminist performance, feminist art history and performance history. It will also contribute to the history of alternative spaces and galleries, which is only now being written. I have had the privilege of knowing Marilyn for over 30 years. Her work has given me so many epiphanies about live art, time-based art practice and durational performance practice. How and why do you choose a single action and enact it over an extended period of time? How do you respond to site and create a sacred meditational zone; a reflexive space about the human condition? And most importantly, how do you teach future generations about the importance of living while making art as a spiritual and philosophical practice? This book is yet another example of Arsem’s legacy. Fundamental, I’d say. Guillermo Gómez-Peña Watching Marilyn Arsem perform can be a slow, careful, vulnerable and heart-stoppingly profound experience. To see her is to know better the complex, intermingling particularities of body, space, time, being and action. Reading this comprehensive, lucidly written and deeply insightful book – the first significant publication on Arsem’s practice as a performance artist – will enable new perspectives on a major artist’s work. It also sheds vivid light upon enduring themes for the critical encounter with art: duration and doing, materiality and nothingness, truth and representation, commitment and experiment, togetherness and solitude, experience and endurance. Dominic Johnson, Queen Mary University of LondonTrade Review'With this long overdue publication, editors Jennie Klein and Natalie Loveless have successfully curated a volume that claims critical space for Arsem’s body and magnifies its distinct odor. [...] Beyond the critical essays, handfuls of performance photographs appear at the end of each section in the volume. Quite pleasurably, these visual vignettes bring the tactile environments of Arsem’s work into delicate focus. [...] Responding to Site validates the work of performance artists who most often operate outside the bounds of traditional time structures and codified performance spaces. The book is an indispensable resource for anyone interested in performance art and an integral monograph about one of the field’s most prolific makers.' -- Raegan Truax, TDR: The Drama Review'What this book does admirably well is to provide as much of an experience of Arsem’s work as possible considering the limitations of the medium of text. It also avoids falling into the trap of attempting to only represent her artistic output: the broad scope of the twelve essays in this collection ensures that Arsem’s work is situated in global social and political contexts, making this book a valuable resource for those not only interested in performance art, but in art theory and practice more generally. [...] Intrinsically ephemeral, transient and temporary Arsem’s work may be, but Responding to Site: The Performance Art of Marilyn Arsem nevertheless allows access to at least some aspects of this art, and the ethos of the artist. As such it is a significant resource, a valuable collection of artistic traces, an impactful archival document and a moving and engaging read.' -- Mareli Stolp, Journal for Artistic Research'Austere, demanding, rigorous, pedagogical while also rich, generous, kind, and companionable, the work of Marilyn Arsem has long been respected within a branch of performance art that has resisted commodification. This book extends knowledge of her work to those who have not been able to see it first hand. Extensive illustrations complement essays by academics, curators and fellow artists. Contextualising and analysing her practices from distinct viewpoints, each essay focuses upon particular works or bodies of work, building into a comprehensive offering. This is essential reading for an understanding of Arsem’s oeuvre.' -- Hilary Robinson, Loughborough University'I have had the privilege of knowing Marilyn for over 30 years. Her work has given me so many epiphanies about live art, time-based art practice and durational performance practice. How and why do you choose a single action and enact it over an extended period of time? How do you respond to site and create a sacred meditational zone; a reflexive space about the human condition? And most importantly, how do you teach future generations about the importance of living while making art as a spiritual and philosophical practice? This book is yet another example of Arsem’s legacy. Fundamental, I’d say.' -- Guillermo Gómez-Peña'Watching Marilyn Arsem perform can be a slow, careful, vulnerable and heart-stoppingly profound experience. To see her is to know better the complex, intermingling particularities of body, space, time, being and action. Reading this comprehensive, lucidly written and deeply insightful book – the first significant publication on Arsem’s practice as a performance artist – will enable new perspectives on a major artist’s work. It also sheds vivid light upon enduring themes for the critical encounter with art: duration and doing, materiality and nothingness, truth and representation, commitment and experiment, togetherness and solitude, experience and endurance.' -- Dominic Johnson, Queen Mary University of London'The performance work of Marilyn Arsem is always generous, stubborn, anxious, smarty-pants and beautiful as hell. Finally we have a book that equals this amazing and affective career that even now continues to grow, influence and surprise!' -- Pope.L'I am one of the lucky people to have participated in a workshop led by Marilyn Arsem. It changed my perspectives on seeing, thinking, making and teaching. This long-overdue encounter with Arsem's remarkable site responsive performance work opens with a Manifesto for Performance Art. We are told that performance art cannot be held, saved, reproduced; it is experienced. I believe that is true. But this carefully curated publication of photographs, accounts and essays, like Arsem's work, holds open the space for renewed attentiveness, allowing for a different but no less profound experience. This is a book that calls for your time.' -- Dee Heddon, University of GlasgowTable of Contents Acknowledgments Introduction: Responding to Site – Jennie Klein Performance Photographs 1987-1999 SECTION ONE: DURATION AND ACTION On Time at the Museum – Lucian O’Connor Salt, Stones, and Stars – Jeffery Byrd With the Others – Sandrine Schaefer The Lightness and Darkness of Becoming-Marilyn – Paul Couillard Performance Photographs 2003-2009 SECTION TWO: SITE AND HISTORY “Lux Balcanica est umbra Orientis” Marilyn Arsem’s Balkan Performances – Kristine Stiles Impossible Totalities: Political Performance as Palimpsest – El Putnam Dropping the Frame: Orpheus to Red in Woods – David P. Miller Performance as/of Shamanism and Mediumship: Writing Ada – John Dennis Anderson Performance Photographs 2010-2013 SECTION THREE: PERFORMANCE AND PEDAGOGY Some Thoughts on Teaching Performance Art, in Five Parts – Marilyn Arsem Dialogues with Absence: Reflections on Time and If to Drift – Sandra Johnston Documenting Arsem – Michael Woolley “Reminding Me Always that Nothing Remains”—Marilyn Arsem’s Performance and Pedagogy – Kathy O’Dell Performance Photographs 2013-2015 Afterword: Durational Forms and Pedagogical Encounters – Natalie Loveless Performance Photographs 2015-2019 Appendix: Arsem’s Performances 1967-2019 Author Biographies Further Reading Index
£26.55
Intellect Books Lightwork: Texts on and from Collaborative
Book SynopsisThis volume brings together performance texts from nine productions by the experimental theatre company Lightwork and one playtext from Lightwork’s precursor company Academy Productions, presented between 1997 and 2011. Lightwork specialized in collaboratively created and multimedia performance. The company also experimented with several performance forms that emerged at the turn of the twenty-first century, including verbatim and site-specific approaches. Because of this, the texts cover a range of forms and formats – scripted plays such as Here’s What I Did With My Body One Day by Dan Rebellato and Blavatsky by Clare Bayley; multimedia adaptations of classical myths such as Back At You (based on the story of Echo and Narcissus) and Once I was Dead (based on the story of Daedalus and Icarus); site-specific experiments such as The Good Actor, which took place in various spaces across Hoxton Hall, a Victorian theatre in London’s East End; and the use of verbatim witness testimony from the Court of Bosnia and Herzegovina, War Crimes section in Sarajevo Story. The defining aspect of the Lightwork aesthetic is that multimedia and scenographic experimentation does not come at the expense of the mainstays of dramatic theatre: character, story and emotional resonance. What lies at the heart of the Lightwork shows you will encounter here are human-scale stories: relationships between lovers or family members, confrontations with the past (both as personal and as cultural history) and, in many cases, matters of life or death that entail wrestling with causality, consequence and fate. The twelve-year span covered by this work reflects a period in British performance practice when the interrelation of page and stage, process and production, text and ‘non-text’, were being radically rethought. In the collaborative and processual theatre making that Lightwork exemplifies, the text may be one element among many and is more likely to be the outcome of the process than its precursor. How do such playtexts (or performance texts) differ from those that are conceived and scripted by a single desk-based playwright in advance of the rehearsal? What gaps are left when the work of many hands is channelled through the pen (or keyboard) of one among them? The texts featured in this volume represent a number of answers to these questions about the nature of writing for the stage. The performance texts are each preceded (and sometime followed) by short essays written by some of the many people who have been involved in productions by Lightwork, including established academics and theatre practitioners: David Annen, Clare Bayley, Gregg Fisher, Sarah Gorman, Andy Lavender, Aneta Mancewicz, Bella Merlin, Alex Mermikides, Jo Parker, Dan Rebellato, and Ayse Tashkiran. Their contributions reflect the collaborative nature of the company and the respect that it accorded the various disciplinary perspectives that make up a theatre company. There are sections on scenography, sound design and technical operation, as well as on those crafts that might more usually draw attention: directing, writing and acting. These contributions offer an insight into the collaborative, multi-layered and sometimes messy business of their creation from an individual maker’s or spectator’s point of view. This book will be invaluable for those who are making, studying or researching performance in the twenty-first century, and an essential resource for the rehearsal room. Primary readership will include researchers, educators, students and practitioners interested in creative practice, theatre-making, integrated design and performance, and contemporary theatre. It will be an important resource for those on theatre and performance courses at all levels, as well as acting, theatre and performance design, dramaturgy and direction courses, creative writing courses and media arts programmes. It will have appeal for general readers interested in new texts and processes in theatre and performance, and individual texts are likely to be of interest to specialist researchers working in related fields – for example performance and the occult (Blavatsky), performance and conflict (Sarajevo Story).Table of ContentsStarting points On Lightwork and twenty-first-century theatre Alex Mermikides On texts and collaborations Andy Lavender Blavatsky On writing live Clare Bayley TEXT: Blavatsky (1999) London/My Lover On technical operation Alex Mermikides TEXT: London/My Lover schematic (2002) On documentation Sarah Gorman Here’s What I Did With My Body One Day On writing and not writing plays Dan Rebellato TEXT: Here’s What I Did With My Body One Day (2004/2006) On experimenting David Annen You Kill Me TEXT: Once I was Dead (2006) TEXT: Back at You (2007) Sarajevo Story On sound Gregg Fisher TEXT: Sarajevo Story (2008) On scenography Jo Parker MyLife On movement direction Ayse Tashkiran TEXT: MyLife running orders (2008) The Tempest On intermediality Aneta Mancewicz TEXT: The Tempest (edited version 2009) The Good Actor On acting Bella Merlin TEXT: The Good Actor various (2010/2011) The Shift On process Clare Bayley TEXT: The Shift (1997) Contributors Bibliography
£72.00
Open Book Publishers After the Miners' Strike: A39 and Cornish
Book Synopsis
£35.95
Intellect The Intellect Handbook of Dance Education
Book SynopsisA review of dance education research methodologies with examples and exemplars from the field. The research methodologies include qualitative, quantitative, and mixed methods. Exemplars include investigations from pedagogy, history and cultured, community engagement, social justice and international dance education research.
£134.95
Bloomsbury Publishing (UK) Love Steals Us From Loneliness
Book SynopsisA play about the stupid things you do when you're f cked.A night out. Friends, alcohol, a shit club, a strop - the usual. But tonight is different. Tonight will change things forever.With Love Steals us from Loneliness, Gary Owen, one of Wales's foremost playwrights, returns to his hometown of Bridgend. The media have told us their Bridgend story, but what will a writer who spent his own teenage years here have to say?
£13.93
Triarchy Press The Roots of Amerta Movement: An introduction to
Book SynopsisThe Javanese movement artist Suprapto Suryodarmo (universally known as Prapto) died in 2019. He had devoted his life to developing, embodying, teaching and sharing his practice of Amerta Movement / Joged Amerta, which, in his own words, is not only a language for communication but also an expression of being. In the course of his life, Prapto worked with students and colleagues (people from all walks of life, including internationally-known artists, performers, practitioners and teachers, all of whom he treated equally as ‘friends’) in sacred, ancient and mundane sites around the world. He never attempted to write down his practice, although he encouraged many ‘friends’ to spread the word and the practice, sharing their own understandings of his work widely. This book, covering the early years of Prapto’s teaching, is the closest there is to a record of that period of his work in English. It is a radically revised, updated and edited version of Lise Lavelle’s doctoral thesis and draws on her unrivalled knowledge of the culture, language, art, religion and traditions of Java – the pot in which Prapto’s life, work and practice were cooked. While Amerta Movement continued to evolve during this century, 'The Roots of Amerta Movement' offers a clear and many-layered introduction. For anyone wanting to know more about Prapto and his work, it is a very good place to start.Table of ContentsPART I: The Movement Chapter 1: Introduction to Amerta Movement Chapter 2: Prapto in Java Chapter 3: Fundamentals Chapter 4: The Movement Practice PART II: The Pribadi Art courses Chapter 5: Basic Chapter 6: Vocabulary 1: The Hill and Sukuh Chapter 7: Vocabulary 2: Borobudur, Parangtritis and Crystallisation Chapter 8. Communication PART III: Messenger Art Chapter 9. Messenger Art On the road to a Professional Art Language Conclusion Epilogue: Amerta on the Road in the 21st century Glossary Bibliography Index
£19.80
Inventory Press LLC Breaking Protocol
Book SynopsisCollaborative conversations on Indigenous performance art, convened by a leading practitioner For Breaking Protocol, transdisciplinary artist Maria Hupfield embarked on a research project on the protocols of Indigenous performance—tracing Indigenous knowledge systems, land-preservation practices and feminist scholarship to illuminate strategies for enacting refusal within decolonial frameworks. The book draws from Hupfield’s “coffee breaks”—conversations held over Zoom during the pandemic, in which Hupfield invited international Indigenous performance artists to discuss their work (from dance to stand-up comedy), who in turn invited other artists to join the conversations. Building on these exchanges, Breaking Protocol asks what we can learn from Indigenous, place-based artistic modes of making and practice to open spaces for reciprocity and multiplicity. Contributors include: Rebecca Belmore, Lori Blondeau, Pelenakeke Brown, Katherine Carl, Re’al Christian, Christen Clifford, TJ Cuthand, Vanessa Dion Fletcher, Akiko Ichikawa, Suzanne Kite, Charles Koroneho, Carin Kuoni, Cheryl L’Hirondelle, Gabrielle L’Hirondelle Hill, Jackson 2Bears Leween, Tanya Lukin Linklater, Cathy Mattes, Meagan Musseau, Julie Nagam, Wanda Nanibush, Peter Morin, Archer Pechawis, Rosanna Raymond, Skeena Reece, Georgiana Uhlyarik, Charlene Vickers and Laakkuluk Williamson Bathory.
£27.00
Hirmer Verlag Global Groove: Art, Dance, Performance, and
Book SynopsisDance is communication. From contemporary collaborations or the first happenings of the Japanese Butoh dancers and the pioneers of Modern dance, Global Groove explores the cultural history of contact between the West and the Far East. Global Groove is going back even to the early performances by Asian dancers in Europe around 1900. Photographs, paintings, sculptures, films and live actions reveal the role played by the language of dance in the political and cultural transformation of societies.
£36.00
Bbooks Verlag Work the Room: A Handbook of Performance
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£13.30
Bbooks Verlag Public Sphere by Performance
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£13.30
Museu D'Art Contemporani de Barcelona (MACBA) Poetry Brossa
Book Synopsis
£26.25
