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Author: Harriet Curtis
Publisher: Taylor & Francis
ISBN: 1040252915
Category : Performing Arts
Languages : en
Pages : 160
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Book Description
This book identifies and theorises mess in contemporary performance and argues that mess offers a site from which subjects might mobilise and find agency, even as the complexity (and indeed messiness) of everyday life conditions and contains. Using a queer feminist and intersectional critical framework, this book analyses how established and emerging artists mess with and mess up capitalist tendencies towards productivity, usefulness, and efficiency. Whilst the materiality of mess provides a starting point and emerges in many of the works analysed, the implications of mess as related to vulnerability, shame, and resistance occupy a larger space in the book’s chapters. These performances are messy not only in content or style; they reveal critical readings of how perceived-as messy' subjects and practices are shaped and regulated. In attending to the public, personal, and structural uses of mess, and emphasising the critical possibilities of what might otherwise be skipped over or cleared away, this book develops and opens out shared understandings of mess as creative chaos and as a practice of political action or change. This book will be of particular interest to students and scholars incontemporary theatre, art, and performance.
Author: Harriet Curtis
Publisher: Taylor & Francis
ISBN: 1040252915
Category : Performing Arts
Languages : en
Pages : 160
Get Book Here
Book Description
This book identifies and theorises mess in contemporary performance and argues that mess offers a site from which subjects might mobilise and find agency, even as the complexity (and indeed messiness) of everyday life conditions and contains. Using a queer feminist and intersectional critical framework, this book analyses how established and emerging artists mess with and mess up capitalist tendencies towards productivity, usefulness, and efficiency. Whilst the materiality of mess provides a starting point and emerges in many of the works analysed, the implications of mess as related to vulnerability, shame, and resistance occupy a larger space in the book’s chapters. These performances are messy not only in content or style; they reveal critical readings of how perceived-as messy' subjects and practices are shaped and regulated. In attending to the public, personal, and structural uses of mess, and emphasising the critical possibilities of what might otherwise be skipped over or cleared away, this book develops and opens out shared understandings of mess as creative chaos and as a practice of political action or change. This book will be of particular interest to students and scholars incontemporary theatre, art, and performance.
Author: Catherine Silverstone
Publisher: Routledge
ISBN: 1135178305
Category : Literary Criticism
Languages : en
Pages : 237
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Book Description
Shakespeare, Trauma and Contemporary Performance examines how contemporary performances of Shakespeare’s texts on stage and screen engage with violent events and histories. The book attempts to account for – but not to rationalize – the ongoing and pernicious effects of various forms of violence as they have emerged in selected contemporary performances of Shakespeare’s texts, especially as that violence relates to apartheid, colonization, racism, homophobia and war. Through a series of wide-ranging case studies, which are informed by debates in Shakespeare, trauma and performance studies and developed from extensive archival research, the book examines how performances and their documentary traces work variously to memorialize, remember and witness violent events and histories. In the process, Silverstone considers the ethical and political implications of attempts to represent trauma in performance, especially in relation to performing, spectatorship and community formation. Ranging from the mainstream to the fringe, key performances discussed include Gregory Doran’s Titus Andronicus (1995) for Johannesburg’s Market Theatre; Don C. Selwyn’s New Zealand-made film, The Maori Merchant of Venice (2001); Philip Osment’s appropriation of The Tempest in This Island’s Mine for London’s Gay Sweatshop (1988); and Nicholas Hytner’s Henry V (2003) for the National Theatre in London.
Author: Ester Fuoco
Publisher: Taylor & Francis
ISBN: 1040264824
Category : Performing Arts
Languages : en
Pages : 123
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Book Description
This book refers to the artistic deviation from dominant goals in a social system or from means considered legitimate in that system. This book explores a "New Humanism" in the performing arts, unique in the sense of human's ability to co-create and communicate beyond spatial and temporal boundaries, wars, and pandemics, through artistic deviations carried out by machines and through the Extended Reality. Through the lens of anthropology and aesthetics, this study selects useful case studies to demonstrate this phenomenon of performative symphonises, in which the experimentation of AI-driven creativity and the new human-robot interaction (HRI) lead to philosophical inquiries about the nature of creativity, intelligence, and the definition of art itself. These shifts in paradigms invite us to reconsider established concepts and explore new perspectives on the relationship between technology, art, and the human experience. This book will be of great interest to students and scholars in theatre and performance studies, anthropology, and digital humanities.
Author: Cathy Sloan
Publisher: Taylor & Francis
ISBN: 1040013570
Category : Performing Arts
Languages : en
Pages : 120
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Book Description
This book examines performance practices that involve people in recovery from addiction, theorising such practices as recovery-engaged. Focusing on examples of practice from a growing movement of UK-based recovery arts practitioners and performers, it highlights a unique approach to performance that infuses an understanding of lived experiences of addiction and recovery with creative practice. It offers a philosophy of being in recovery that understands lived experience, and performance practice, as a dynamic system of interrelations with the human and nonhuman elements that make up the societal settings in which recovery communities struggle to exist. It thereby frames the process of recovery, and recovery-engaged performance, as an affective ecology – a system of messy connections. Building upon ideas from posthumanist research on addiction, cultural theory on identity and new materialist interpretations of performance practice, it considers how such contemporary theory might offer additional ways of thinking and doing arts practice with people affected by addiction. The discussion highlights the distinct aesthetics, ethics and politics of this area of performance practice. This study will be of great interest to students and scholars in Applied Theatre and Critical Arts and Mental Health studies.
Author: Gala Moody
Publisher: Taylor & Francis
ISBN: 1040297455
Category : Performing Arts
Languages : en
Pages : 257
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Book Description
The Dancer’s Handbook offers a holistic exploration of the dance industry's challenges, authored by dancers intimately familiar with its complexities. This comprehensive resource tackles themes like power dynamics, hierarchical structures, and the pervasive influences of capitalism, patriarchy, and white supremacy as the “status quo” in the arts. This book delves into dismantling the status quo, examining its manifestations in the body and mind of dancers, and advocates for wellbeing and self-worth in the workplace as the way of change. Psychological aspects, coping mechanisms, and the importance of rest are addressed alongside discussions on ethical engagement, consent, and the democratisation of workplace behaviour through co-authored principles of practice. The final chapters empower dancers to find their voice, offering structured communication strategies to confront transgressive behaviours and foster accountability. With insights from years of reimagining working conditions, this book serves as a beacon for positive change, urging dancers and dance-related professionals to challenge norms, prioritise wellbeing, and speak up to power.
Author: Daniel Schulze
Publisher: Bloomsbury Publishing
ISBN: 1350000981
Category : Performing Arts
Languages : en
Pages : 297
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Book Description
Authenticity is one of the major values of our time. It is visible everywhere, from clothing to food to self-help books. While it is such a prevalent phenomenon, it is also very evasive. This study analyses the 'culture of authenticity' as it relates to theatre and establishes a theoretical framework for analysis. Daniel Schulz argues that authenticity is sought out and marked by the individual and springs from a culture that is perceived as inherently fake and lacking depth. The study examines three types of performances that exemplify this structure of feeling: intimate theatre seen in Forced Entertainment productions such as Quizoola! (1996, 2015), as well as one-on-one performances, such as Oentroerend Goed's Internal (2009); immersive theatres as illustrated by Punchdrunk's shows The Masque of the Red Death (2007) and The Drowned Man (2013) which provide a visceral, sensate understanding for audiences; finally, the study scrutinises the popular category of documentary theatre through various examples such as Robin Soan's Talking to Terrorists (2005), David Hare's Stuff Happens (2004), Edmund Burke's Black Watch (2007) and Dennis Kelly's pseudo-documentary play Taking Care of Baby (2007). It is specifically the value of the document that lends such performances their truth-value and consequently their authenticity. The study analyses how the success of these disparate categories of performance can be explained through a common concern with notions of truth and authenticity. It argues that this hunger for authentic, unmediated experience is characteristic of a structure of feeling that has superseded postmodernism and that actively seeks to resignify artistic and cultural practices of the everyday.
Author: Sarah Austin
Publisher: Taylor & Francis
ISBN: 104004199X
Category : Performing Arts
Languages : en
Pages : 168
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Book Description
This book outlines how an innovative ‘rights-based’ model of contemporary performance practice can be used when working with children and young people. This model, framed by the United Nations Convention on the Rights of the Child (1989), challenges the idea of children as vulnerable and in need of protection, argues for the recognition of the child’s voice, and champions the creativity of children in performance. Sarah Austin draws on rich research and practitioner experience to analyse Youth Arts pedagogies, inclusive theatre practice, models of participation, the symbolic potential of the child in performance, and the work of contemporary theatre practitioners making work with children for adult audiences. The combined practical and written research reflected in this book offers a new, nuanced understanding of children as cultural agents, raising the prospect of a creative process that foregrounds deeper considerations of the strengths and capacities of children. This book would primarily appeal to scholars of theatre and performance studies, specifically those working in the field of applied theatre and theatre for children and young people. Additionally, the practice-based elements of the book are likely to appeal to theatre professionals working in youth arts or theatre for young audiences or associated fields.
Author: Alexander Coupe
Publisher: Springer Nature
ISBN: 3031752295
Category :
Languages : en
Pages : 291
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Book Description
Author: Ralf Remshardt
Publisher: Taylor & Francis
ISBN: 1000913643
Category : Performing Arts
Languages : en
Pages : 978
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Book Description
This is a comprehensive overview of contemporary European theatre and performance as it enters the third decade of the twenty-first century. It combines critical discussions of key concepts, practitioners, and trends within theatre-making, both in particular countries and across borders, that are shaping European stage practice. With the geography, geopolitics, and cultural politics of Europe more unsettled than at any point in recent memory, this book’s combination of national and thematic coverage offers a balanced understanding of the continent’s theatre and performance cultures. Employing a range of methodologies and critical approaches across its three parts and ninety-four chapters, this book’s first part contains a comprehensive listing of European nations, the second part charts responses to thematic complexes that define current European performance, and the third section gathers a series of case studies that explore the contribution of some of Europe’s foremost theatre makers. Rather than rehearsing rote knowledge, this is a collection of carefully curated, interpretive accounts from an international roster of scholars and practitioners. The Routledge Companion to Contemporary European Theatre and Performance gives undergraduate and graduate students as well as researchers and practitioners an indispensable reference resource that can be used broadly across curricula.
Author: Alexandra Baybutt
Publisher: Taylor & Francis
ISBN: 1000894762
Category : Performing Arts
Languages : en
Pages : 141
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Book Description
This book expands the understanding of conditions defining the creation and circulation of contemporary dance that differ across Europe. It focuses on festival-making connected with the Balkan regional project ‘Nomad Dance Academy’ (NDA), and highlights collective approaches to sustain a theorisation of festivals using the concepts of dissensus and imperceptible politics. Drawing from anthropological methods, three festivals PLESkavica, Slovenia; Kondenz, Serbia and LocoMotion, North Macedonia, are explored through social, political and historical currents affecting curatorial practice. This book closely follows how festival-makers navigate the values of international development that during and after the Yugoslav wars looked to art as part of peacekeeping and nation-building processes. This coincided with increasing discourse and practices of contemporary dance that gained momentum in the 1980s alongside European festivalisation. I show how contemporary dance acts as an agent for transformation, but also a carrier of older forms of social organisation, reflecting methods and values of Yugoslav Worker Self-management that are deployed by the groups creating the festivals. This book will be of interest to dance scholars as well as researchers tracing the long-term effects of the dissolution of the Socialist Federal Republic of Yugoslavia.
