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Word Events
Verbal notation has emerged since the 1950s as a prominent medium in the field of experimental music, as well as in related areas of arts practice involving performance and object making. Works created with this type of notation are often referred to by their authors as event scores, prose scores, text scores or instruction scores. Word Events features over 170 scores, many printed here for the first time, representing the works of more than 50 practitioners including George Brecht, John Cage, Cornelius Cardew, Pauline Oliveros, Yoko Ono, Michael Pisaro, Karlheinz Stockhausen, Jennifer Walshe and La Monte Young. The commentaries in the book explore the compositional strategies and performance practice of particular works, contextualised by key essays, including previously hard-to-find texts by Lawrence Halprin and Kenneth Maue, together with many new statements and interviews from composers, artists and performers. This unique and wide-ranging collection of scores and writings will be indispensable to musicians, artists, those involved with community arts, and anyone with an interest in exploring the rich potential of the written word.
The Room Is on Fire
The Room Is on Fire offers an overview of youth spoken word poetry's history, its practitioners, participants, and practices. Susan Weinstein explores its grounding in earlier literary/performance/educational traditions and discusses its particular challenges. In order to analyze these issues, the story of how youth spoken word poetry developed as a field is told through the voices of those involved. Interviewees include the people who organized the first youth poetry slam festivals, the founders of central youth spoken word organizations, and a selection of young people who have participated in their local programs and in regional and national events over the last two decades. Narratives about individual and communal efforts and experiences are supported by analyses of full-text poems by youth poets and by reference to contemporary scholarship in performance studies, critical youth studies, and new literacy studies. Blending history and theory with practical descriptions of how spoken word poetry is taught and how to produce spoken word events, the book will appeal to researchers, teacher educators, and K–12 teachers.
Sweet Anaesthetist
A follow-up collection to the Saltire Prize winning Wristwatch - a vibrant, transfixing plunge into the stuff of life itself.
By Day and By Night
With Lilith supposedly destroyed on the mortal plane and a supernatural serial killer on the loose, Zoon and Bethany embark on a mission to find the being responsible for maliciously massacring scores of normal humans. The trail of dead bodies lead through several states and the clues allude to a vampire as being the culprit. Is Lilith STILL alive and is she responsible for the creation of such a creature? To complicate matters, Lucifer also begins his own search for the murderer, but everyone wonders why The King of Hell would be interested in a vampire? As Zoon discovers, finding the answers to that question only deepens the plot and leads to more questions. Is the killer actually evil—a cold-blooded, calculating assassin—or a reluctant, naive executioner manipulated by the most diabolical woman ever in existence? Zoon, and the rest of The Third Testament, may not want to know…
HalfBreed
Zoon, a being who has been raised and kept in isolation since birth by the obscure religious sect known as the UpperRoom, is finally unleashed. His mission: locate a mysterious woman--a beautiful virgin--in a strange city of over one million people and return her to the UpperRoom compound "unspoiled". Complicating matter is the fact that Zoon is no ordinary man. He's a one-year old, half human/half demon hybrid with the body and intellect of a 35 year old man, who has no knowledge of his past or what he truly is...
The Book of Lilith
The story of Lilith has never been told before until now... Predating Eve, Lilith, the first woman ever created, was thrown out of the Garden of Eden because she wouldn't submit to God or man. Later Lilith sold her soul to Lucifer for revenge. Now that centuries have passed, she had returned to Earth and there will be hell to pay! Complicating matters is Lilith's "son" Zoon, a half human/half demon hybrid, whose loyalties will be tested. Will he join Lilith and aid in her destruction of mankind? Or will he side with his friends in their seemingly vain attempt to stop her?
Spoken Word in the UK
Spoken Word in the UK is a comprehensive and in-depth introduction to spoken word performance in the UK – its origins and development, its performers and audiences, and the vast array of different styles and characteristics that make it unique. Drawing together a wide range of authors including scholars, critics, and practitioners, each chapter gives a new perspective on performance poetics. The six sections of the book cover the essential elements of understanding the form and discuss how this key aspect of contemporary performance can be analysed stylistically, how its development fits into the context of performance in the UK, the ways in which its performers reach and engage with their audiences, and its place in the education system. Each chapter is a case study of one key aspect, example, or context of spoken word performance, combining to make the most wide-ranging account of this form of performance currently available. This is a crucial and ground-breaking companion for those studying or teaching spoken word performance, as well as scholars and researchers across the fields of theatre and performance studies, literary studies, and cultural studies.
Shy
A collection of Canadian literature on the topic of shyness.
Everything Is Sampled
Everything Is Sampled examines the shifting modes of production and circulation of African artistic forms since the 1980s, focusing on digital culture as the most currently decisive setting for these changes. Drawing on works of cinema, literature, music, and visual art, Akin Adekan. addresses two main questions. First, given the various changes that the institutions producing African arts and letters have undergone in the past four decades, how have the representational impulses in these forms fared in comparison with those at work in pervasively digital cultures? Second, how might a long view of these artistic forms across media and in different settings affect our understanding of what co...
