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O
Writer & performance artist Niki Tulk's O explores the aftermath of sexual assault, unearthing myths, folklore, and profound truths about our collective history of violence, womanhood, and justice.
Performing the Wound
This book offers a matrixial, feminist-centered analysis of trauma and performance, through examining the work of three artists: Ann Hamilton, Renée Green, and Cecilia Vicuña. Each artist engages in a multi-media, or “combination” performance practice; this includes the use of site, embodied performance, material elements, film, and writing. Each case study involves traumatic content, including the legacy of slavery, child sexual abuse and environmental degradation; each artist constructs an aesthetic milieu that invites rather than immerses—this allows an audience to have agency, as well as multiple pathways into their engagement with the art. The author Niki Tulk suggests that thes...
A Cloud of Outrageous Blue
For fans of Fever 1793 comes the story of a young woman paving her own path and falling in love during the Great Plague of 1348, from the award-winning creator of What the Night Sings. Edyth grew up in a quiet village with a loving family, before losing everything she holds dear in the blink of an eye. Suddenly sent to live in a priory and work with ancient texts, Edyth must come to terms with her new life and the gifts she discovers in herself. But outside the priory, something much worse is coming. With the reappearance of a boy from her past and the ominous Great Plague creeping closer and closer to the priory, it will be up to Edyth to rise above it all and save herself. From the award-winning author-illustrator of What the Night Sings comes a new journey of self-discovery and love in the most uncertain times.
Aesthetic Collectives
This book focuses attention on groups of performing people that are unique aesthetic objects, the focus of an artist’s vision, but at the same time a collective being; a singular, whole mass that exists and behaves like an individual entity. This text explores this unique experience, which is far from rare or special. Indeed, it is pervasive, ubiquitous and has, since the dawn of performance, been with us. Surveying installation art from Vanessa Beecroft & Kanye West, Greek tragedy, back-up dancing groups and even the mass dance of clubbing crowds, this text examines and names this phenomenon: Aesthetic Collectives. Drawing on a range of methods of investigation spanning performance studies, acting theory, studies of atmosphere and affect and sociology it presents an intervention in the literature for something that has long deserved its own attention. This book will be of great interest to scholars, students and practitioners in performance studies, theatre, live art, sociology (particularly of groups and subcultures), cultural studies and cultural geography.
Shakespeare’s Contested Nations
Shakespeare’s Contested Nations argues that performances of Shakespearean history at British institutional venues between 2000 and 2016 manifest a post-imperial nostalgia that fails to tell the nation’s story in ways that account for the agential impact of women and people of color, thus foreclosing promising opportunities to re-examine the nation’s multicultural past, present, and future in more intentional, self-critical, and truly progressive ways. A cluster of interconnected stage and televisual performances and adaptations of the history play canon illustrate the function that Shakespeare’s narratives of incipient "British" identities fulfill for the postcolonial United Kingdom....
Butoh America
Butoh America unearths the people and networks that popularized Butoh dance in the Americas through a focused look at key artists, producers, and festivals in the United States and Mexico. This is the first book to gather these histories into one narrative and look at the development of American Butoh. From its inception in San Francisco in 1976, American Butoh aligned with avant-garde performance art in alternative venues such as galleries and experimental theaters. La MaMa in New York and the Festival Internacional Cervantino in Guanajuato both served to legitimize the form as esteemed experimental performance. A crystallizing moment in each of the three locations—San Francisco, New York, and Mexico City—has been a grand-scale festival featuring prominent Japanese and numerous other international artists, as well as fostering local communities. This book stitches together the flow of people and ideas, highlights the connections in the Butoh diaspora, and incorporates interviewee perspectives regarding future directions for the genre in the Americas.
Performing care
This electronic version has been made available under a Creative Commons (BY-NC-ND) open access license. This edited collection brings together essays presenting an interdisciplinary dialogue between theatre and performance and the fields of care ethics, care studies, health and social care. The book advances our understanding of performance as a mode of care, challenging existing debates in this area by re-thinking the caring encounter as a performed, embodied experience and interrogating the boundaries between care practice and performance. Through an examination of a wide range of different care performances drawn from interdisciplinary and international settings, the book interrogates how performance might be understood as caring or uncaring, careless or careful, and correlatively how care can be conceptualised as artful, aesthetic, authentic or even ‘fake’ and ‘staged’.
Deburau
This volume analyses the nature of the mime art of Deburau and of the pantomime performances of the Théâtre des Funambules in Paris in the context of Romantic art, literature and socio-political thought. Deburau and the Théâtre des Funambules are characteristic of Romantic art in that they are closely associated with certain aspirations for social reform, even revolution. Deburau was an iconic figure for intellectuals such as George Sand who effectively considered him to be part of the ‘poète-maçon’ movement. Edward Nye examines this fascination as well as the myth which developed from it. With its unique framing in art, literature and politics, this book is a must read for undergraduates and postgraduates in theatre, literary studies and the Romantic period.
Like a King
Like a King: Casting Shakespeare’s Histories for Citizens and Subjects is a dual examination of Shakespeare’s history plays in their early modern production contexts and of the ways the histories can speak directly to twenty-first-century American political and social concerns. Author and production director Christina Gutierrez-Dennehy examines how strategic doubled and re-gendered casting can animate the underlying questions of Richard II, Henry V, and King John in vital and immediate ways for American audiences. Examining evidence from both the archive and the rehearsal room, Gutierrez-Dennehy explores the texts as repositories for dialogues about power, gender, identity, nationhood, and leadership. With the American political system as its backdrop, Like a King argues that productions of Shakespeare’s histories can interrogate and explore the relationships between citizens, subjects, and their leaders.
Performing Arts as High-Impact Practice
This book investigates how the performing arts in higher education nationally contribute to the “high impact practices,” as identified by the Association of American Colleges and Universities (AACU). Using the well-known map of the HIPs for illustrating the centrality of performing arts practices in higher education, the editors and authors of this volume call for increased participation by performing arts programs in general education and campus initiatives, with specific case studies as a guide. Performing arts contribute to the efforts of their institution in delivering a strong liberal arts education that uniquely serves students to meet the careers of the future. This is the first book to explicitly link the performing arts to the HIPs, and will result in the implementation of best practices to better meet the educational needs of students. At stake is the viability of performing arts programs to continue to serve students in their pursuit of a liberal arts education.
