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The Routledge Companion to Site-Specific Performance
This collection comprises a comprehensive overview of key themes, arguments, and practices central to the study and understanding of site-specific performance. Its collected essays, case studies, and practitioner accounts represent a must-have resource that engages with established and emergent ideas, themes, and practices central to this performance sub-discipline. Acknowledging the interdisciplinary nature of this field emergent through the creation and presentation of performance in non-theatre spaces, the companion includes writing from scholars whose work intersects with ideas from a range of related fields including dance, theatre, dramaturgy, human geography, architecture, walking stu...
The Oxford Handbook of Dance and Reenactment
The Oxford Handbook of Dance and Reenactment investigates new forms of choreographic dramaturgy and interpretation inherent. Joining junior and senior scholars as well as practitioners in the field, the handbook shows how the recovery of past dances has come to constitute a new branch of contemporary choreographic activity.
Using the Sky
In the mid 1990’s Deborah Hay’s work took a new turn. From her early experiments with untrained dancers, and after a decade of focusing on solo work, the choreographer began to explore new grounds of choreographic notation and transmission by working with experienced performers and choreographers. Using the Sky: a dance follows a similar path as Hay’s previous books—Lamb at the Altar and My Body the Buddhist—by exploring her unrelenting quest for ways to both define and rethink her choreographic imagery through a broad range of alternately intimate, descriptive, poetic, analytical and often playful engagement with language and writing. This book is a reflection on the experiments t...
Unworking Choreography
There is no archive or museum of human movement, no place where choreographies can be collected and conserved in pristine form. The central consequence of this is the incapacity of philosophy and aesthetics to think of dance as a positive and empirical art. In the eyes of philosophers, dance refers to a space other than art, considered both more frivolous and more fundamental than the artwork without ever quite attaining the status of a work. Unworking Choreography develops this idea and postulates an unworking as evidenced by a conspicuous absence of references to actual choreographic works within philosophical accounts of dance; the late development and partial dominance of the notion of the work in dance in contrast to other art forms such as painting, music, and theatre; the difficulties in identifying dance works given a lack of scores and an apparent resistance within the art form to the possibility of notation; and the questioning of ends of dance in contemporary practice and the relativisation of the very idea that dance artistic or choreographic processes aim at work production.
Actes
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Dance Now
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Independent Theatre in Contemporary Europe
Over the past 20 years European theatre underwent fundamental changes in terms of aesthetic focus, institutional structure and in its position in society. The impetus for these changes was provided by a new generation in the independent theatre scene. This book brings together studies on the state of independent theatre in different European countries, focusing on the fields of dance and performance, children and youth theatre, theatre and migration and post-migrant theatre. Additionally, it includes essays on experimental musical theatre and different cultural policies for independent theatre scenes in a range of European countries.
Dance Dramaturgy
Ten international dramaturg-scholars advance proposals that reset notions of agency in contemporary dance creation. Dramaturgy becomes driven by artistic inquiry, distributed among collaborating artists, embedded in improvisation tasks, or weaved through audience engagement, and the dramaturg becomes a facilitator of dramaturgical awareness.
P.A.R.T.S.
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The New Yorker
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