Performance art Books

Book SynopsisPerformer Training is an examination of how actors are trained in different cultures. Beginning with studies of mainstream training in countries such as Poland, Australia, Germany, and the United States, subsequent studies survey: Some of Asia's traditional training methods and recent experiments in performer training Eugenio Barba's training methods Jerzy Grotowski's most recent investigations The Japanese American NOHO companies attempts at integrating Kyogen into the works of Samuel Beckett Descriptions of the training methods developed by Tadashi Suzuki and Anne Bogart at their Saratoga International Theatre Institute Recent efforts to re-examine the role and scope of training, like Britain's International Workshop Festival and the European League of Institutes of Arts masterclasses The reformulation of the use of emotions in performer training known as Alba Emoting.

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Book SynopsisAberrant Nuptials explores the diversity and richness of the interactions between artistic research and Deleuze studies. "Aberrant nuptials" is the expression Gilles Deleuze uses to refer to productive encounters between systems characterised by fundamental difference. More than imitation, representation, or reproduction, these encounters foster creative flows of energy, generating new material configurations and intensive experiences. Within different understandings of artistic research, the contributors to this book--architects, composers, film-makers, painters, performers, philosophers, sculptors, and writers--map current practices at the intersection between music, art, and philosophy, contributing to an expansion of horizons and methodologies. Written by musicians and artists who have been reflecting Deleuzian and Post-Deleuzian discourses in their artworks, and by established Deleuze scholars who have been working on interferences between art and philosophy, this volume reflects the current relevance of artistic research and Deleuze studies for the arts. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content). Contributors: Suzie Attiwill (RMIT University), Sara Baranzoni (Universidad de las Artes of Guayaquil), Zsuzsa Baross (Trent University), Terri Bird (Monash University), Ronald Bogue (University of Georgia), Barbara Bolt (VCA University of Melbourne), Peter Burleigh (University of Basel / HGK, Basel), Edward Campbell (University of Aberdeen / Centre for Modern Thought), Marianna Charitonidou (University of Paris West Nanterre / National Technical University of Athens), Jean-Marc Chouvel (Paris-Sorbonne University), Guillaume Collett (University of Kent), Zornitsa Dimitrova (University of Munster), Lilija Duobliene (University of Vilnius), Lucia D'Errico (Orpheus Institute), Bracha L. Ettinger (artist, painter, theorist), Henrik Frisk (Royal Academy of Music Malmoe), jan jagodzinski (University of Alberta), Oleg Lebedev (Universite Catholique de Louvain), Gustavo Penha (University of Sao Paulo), Katie Pleming (King's College London), Liana Psarologaki (University of Suffolk), Emilia Marra (University of Trieste), Tero Nauha (Helsinki Collegium), Stefan OEstersjoe (Orpheus Institute), Simon O'Sullivan (theorist, artist), Antonia Pont (Deakin University), Elisabeth Presa (University of Melbourne), Spencer Roberts (University of Huddersfield), Jonas Rutgeerts (dramaturge, performance theorist), Anne Sauvagnargues (University of Paris Ouest Nanterre La Defense), Janae Sholtz (Alvernia University), Steve Tromans (musician, independent researcher), Kamini Vellodi (University of Edinburgh), Paolo Vignola (Universidad de las Artes of Guayaquil), Audrone Zukauskaite (Lithuanian Culture Research Institute). In collaboration with Orpheus InstituteTable of ContentsIntroduction Paulo de AssisPart 1: Sonic Nuptials: Sounds and Gestures of TimeDeleuze’s Syntheses of Time and Their Aesthetical Prolongations: Form, Style, and Achievement Jean-Marc ChouvelWhen Sounds Encounter One Another . . . Zsuzsa BarossGeomusic, Ecosophy, and Molecular Oscillators Ronald BogueEast Meets West in France: Catching the Musical Scent Edward CampbellTopography of the (One): Reflections on Musical Time in Composition and Performance Stefan Östersjö, Christer Lindwall, Jörgen DahlqvistIn the (Immanent) Event of Musical-Philosophical Thought Steve TromansMusic as a Reservoir of Thought’s Materialisation: Between Metastaseis and Modulor Marianna CharitonidouMachinic Propositions: Artistic Practice and Deterritorialisation Henrik Frisk, Anders ElberlingA Ligetian Way to Make a Piano (or a Piano Piece) Stutter Gustavo Rodrigues PenhaWhen Time Begins To Riot: Rhythm and Syncopation in the Work of Jonathan Burrows and Matteo Fargion Jonas RutgeertsAnne Teresa De Keersmaeker: An Unbridled Activity of Vital Lines Oleg LebedevSonic Forms of Capture Terri BirdPart 2: A Little Treatise on BecomologyThe Wasp and the Orchid: On Multiplicities and Becomology Anne SauvagnarguesBeyond the Death-Drive, beyond the Life-Drive: Being-toward-Birthing with Being-toward-Birth; Copoiesis and the Matrixial Eros—Metafeminist Notes Bracha L. EttingerThought beyond Research: A Deleuzian Critique of Artistic Research Kamini VellodiAn Avant-Garde “Without Authority”: The Posthuman Cosmic Artisan in the Anthropocene jan jagodzinskiPure Immanence and the Algorithmic Era: An Aberrant Nuptial Emilia MarraMining the Aesthetico-Conceptual: Deleuze, Derrida, and Artistic Research Spencer RobertsExperimenting in Relation to the Anthropocene: An Image of Earth-Thought from a Symptomatic Earth Line Paolo VignolaLogic of Sens/ation: Two Conflicting Conceptions of Transdisciplinarity in Deleuze and Guattari Guillaume CollettListening for a New Body: Thinking Change and Learning Reason with Difference and Repetition and Spinoza: Practical Philosophy Antonia PontOutside-Interior: ?Interior Suzie AttiwillEncountering Fashion as a Practice of Subjectivation Andrea EckersleyA Theory of Becoming: Artistic Spatio-Temporal Experiences after Gilles Deleuze, Alain Badiou, and Brian Massumi Liana PsarologakiPart 3: A Garden of Small Nuptials: Images, Movement, and FabulationsMythopoesis, Fabulous Images, and Memories of a Sorcerer Simon O’SullivanThe Philosopher as a Line: A Deleuzian Perspective on Drawing and the Mobile Image of Thought Janae SholtzFor a Future of the Face: Faciality and Performance in the Dance of Marlene Monteiro Freitas Lucia D’ErricoElegy to an Oz Republic: First Steps in a Ceremony of Invocation towards Reconciliation Barbara BoltSound and Image in Artistic Flooding: Vladimir Tarasov, Bill Viola Lilija DuoblieneFictioning a Thought of Performance Tero NauhaMilieus of Locality: The Aesthetic of the Point of View Sara Baranzoni“A Life as an Open Landscape”: Systems of Codetermination in Three Robotic Shows Zornitsa DimitrovaInterspecies Sonification: Deleuze, Ruyer, and Bioart Audronė ŽukauskaitėDesire, Temporality, “Liquid Perception”: Deleuze and the Films of Marguerite Duras Katie PlemingPhotogenesis—Brokering World Peter BurleighSculpture Installation: Garden of Small Nuptials Elizabeth PresaAppendixNotes on ContributorsIndex

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Book SynopsisThe challenges and limits for musicians dealing with texts.To perform a musical score implies the transformation of a symbolically coded text into vibrant sound. In Performing by the Book? a carefully selected cadre of artist-researchers dissects this delicate act in critical ways. Offering first-hand insights into the notational, structural and interpretative challenges faced by musicians in dealing with texts of all kinds, the chapters traverse the spectrum between the Middle Ages and the age of Stockhausen. In a harmonious blend of scholarly allure and individual artistry, free from academic obfuscation, the contributors keep a keen eye on the limits of interpretation, both in terms of the interpretative process itself and of the balance between textual faithfulness and artistic autonomy. This comprehensive volume is an indispensable guide for everyone interested in the relationship between musical performance and texts.Contributing authors

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Book SynopsisInternational expositions or "world’s fairs" are the largest and most important stage on which millions routinely gather to directly experience, express, and respond to cultural difference. Rather than looking at Asian representation at the hands of colonizing powers, something already much examined, Asian Self-Representation at World’s Fairs instead focuses on expressions of an empowered Asian self-representation at world’s fairs in the West after the so-called golden age of the exhibition. New modes of representation became possible as the older "exhibitionary order" of earlier fairs gave way to a dominant "performative order," one increasingly preoccupied with generating experience and affect. Using case studies of national representation at selected fairs over the hundred-year period from 1915-2015, this book considers both the politics of representation as well as what happens within the imaginative worlds of Asian country pavilions, where the performative has become the dominant mode for imprinting directly on human bodies.Table of ContentsAcknowledgments Note on Works Cited Note on Asian Names 1. Introduction: Setting the Stage 2. The Master of the Form: Japan at San Francisco's 1915 Panama-Pacific International Exposition 3. The New China and Chinese-Americanness: China at San Francisco's 1915 Panama-Pacific International Exposition 4. Performing Japan in the 'World of Tomorrow': Japan at the 1939-1940 New York World's Fair 5. From 'Panda Diplomacy' to Acrobat Diplomacy: China at the Brisbane's Expo '88 6. Fashion, Dance, and Representing the Filipina: The Philippines at the 1964-1965 New York World Fair 7. Performing Modernity under Sukarno's 'Roving Eye': Indonesia at the 1964-1965 New York World's Fair 8. Maximizing Affect, Minimizing Impact with Hansik: South Korea at the 2015 Milan International Exposition 9. Hard and Soft Power in the Thai Pavilion: The Spectral Presence of King Bhumibol at the 2015 Milan Exposition 10. Conclusion: The Future of Asian Self-Representation at the International Exposition Works Cited Index

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Book SynopsisPerformative Images draws upon the work of video artists and activists in France between the 1970s and the early 2020s and focuses on significant practices with technology. Video art and video activism are analysed together in the book to revaluate key concepts in media studies and foreground a performative approach to the theory of image technology. The book engages works in visual culture, performance studies, digital studies, critical race theory, and feminist methodologies to account for the changes brought about by video technology in social and psychic life. Performative Images is about art and activists’ engagement in video technology—an engagement that unsettles the hegemonic narrative of dominant media, as well as the apparently politically neutral dimension of communication technology. In this book, the author explores how video-image technology shapes our psychic and social environments from an art historiographical perspective. We know media technology is dramatically shaping our political and epistemological landscape: this book foregrounds the emergence of performative video images as a key factor in the revaluation of culture and politics.Table of ContentsIntroduction: Video: Between Technology and Performance Chapter 1: The Volume-Image of Video Technology Chapter 2: Zones of Modulation: Video as a Space-Critical Medium Chapter 3: Programmed Life and Racialized Technesis Chapter 4: Video and the Technical Milieu of Desire Conclusion: Performative Images as Objects of Philosophical Inquiry Artworks cited Index Acknowledgments

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Book Synopsis

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Book Synopsis

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