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The Twentieth Century Performance Reader
The Twentieth-Century Performance Reader has been the key introductory text to all types of performance for over fifteen years. Extracts from over fifty practitioners, critics and theorists from the fields of dance, drama, music, theatre and live art form an essential sourcebook for students, researchers and practitioners. This carefully revised third edition offers focus on contributions from the world of music, and also privileges the voices of practitioners themselves ahead of more theoretical writing. A bestseller since its original publication in 1996, this new edition has been expanded to include contributions from: Bobby Baker; Joseph Beuys; Rustom Bharucha; Anne Teresa de Keersmaeker...
The Twenty-First Century Performance Reader
The Twenty-First Century Performance Reader combines extracts from over 70 international practitioners, companies, collectives and makers from the fields of Dance, Theatre, Music, Live and Performance Art, and Activism to form an essential sourcebook for students, researchers and practitioners. This is the follow-on text from The Twentieth-Century Performance Reader, which has been the key introductory text to all kinds of performance for over 20 years since it was first published in 1996. Contributions from new and emerging practitioners are placed alongside those of long-established individual artists and companies, representing the work of this century’s leading practitioners through th...
Inside The Performance Workshop
Inside The Performance Workshop: A Sourcebook for Rasaboxes and Other Exercises is the first full-length volume dedicated to the history, theory, practice, and application of a suite of performer training exercises developed by Richard Schechner and elaborated on by the editors and contributors of this book. This work began in the 1960s with The Performance Group and has continued to evolve. Rasaboxes—a featured set of exercises—is an interdisciplinary approach for training emotional expressivity through the use of breath, body, voice, movement, and sensation. It brings together: the concept of rasa from classical Indian performance theory and practice research on emotion from neuroscience and psychology experimental and experiential performance practices theories of ritual, play, and performance This book combines both practical “how-to” guidance and applications from diverse contexts including undergraduate and graduate actor training, television acting, K-12 education, devising, and drama therapy. The book serves as an introduction to the work as well as an essential resource for experienced practitioners.
Discourses We Live By: Narratives of Educational and Social Endeavour
What are the influences that govern how people view their worlds? What are the embedded values and practices that underpin the ways people think and act? Discourses We Live By approaches these questions through narrative research, in a process that uses words, images, activities or artefacts to ask people – either individually or collectively within social groupings – to examine, discuss, portray or otherwise make public their place in the world, their sense of belonging to (and identity within) the physical and cultural space they inhabit. This book is a rich and multifaceted collection of twenty-eight chapters that use varied lenses to examine the discourses that shape people’s lives...
The Twenty-First Century Performance Reader
The Twenty-First Century Performance Reader combines extracts from over 70 international practitioners, companies, collectives, and makers from the fields of Dance, Theatre, Music, Live and Performance Art, and Activism to form an essential sourcebook for students, researchers, and practitioners. This is the follow-on text from The Twentieth Century Performance Reader, which has been the key introductory text to all kinds of performance for over 20 years since it was first published in 1996. Contributions from new and emerging practitioners are placed alongside those of long-established individual artists and companies, representing the work of this century’s leading practitioners through ...
The Tongue-Tied Imagination
Should a writer work in a former colonial language or in a vernacular? The language question was one of the great, intractable problems that haunted postcolonial literatures in the twentieth century, but it has since acquired a reputation as a dead end for narrow nationalism. This book returns to the language question from a fresh perspective. Instead of asking whether language matters, The Tongue-Tied Imagination explores how the language question itself came to matter. Focusing on the case of Senegal, Warner investigates the intersection of French and Wolof. Drawing on extensive archival research and an under-studied corpus of novels, poetry, and films in both languages, as well as educati...
Tandem Dances
"In October 2017, four internationally influential practitioners of immersive experiences gathered at the Snug Harbor Cultural Center on Staten Island in New York for a panel discussion on the creation of immersive productions. The panel, entitled "All the World is a Stage," was part of the Future of Storytelling Festival 2017 (FoST FEST), advertised as "the world's leading immersive storytelling event." During this discussion, each of the four panelists described examples of their work. Hector Harkness, Associate Director of Punchdrunk International, explained how the company created productions that "rip up the rules for the audience" so they can "go beyond the boundaries of closed environ...
Text & Presentation, 2015
Bringing together some of the best work from the 2015 Comparative Drama Conference in Baltimore, this book covers subjects from ancient Greece to 21st century America with a variety of approaches and formats, including two transcripts, 10 research papers and six book reviews. This year's highlight is the keynote conversation featuring Pulitzer Prize-winning playwright David Lindsay-Abaire. This volume is the twelfth in a series dedicated to presenting the latest research in the fields of comparative drama, performance and dramatic textual analysis.
Voices, Bodies, Practices
Identity and subjectivity in musical performances Who is the “I” that performs? The arts of the twentieth and twenty-first centuries have pushed us relentlessly to reconsider our notions of the self, expression, and communication: to ask ourselves, again and again, who we think we are and how we can speak meaningfully to one another. Although in other performing arts studies, especially of theatre, the performance of selfhood and identity continues to be a matter of lively debate in both practice and theory, the question of how a sense of self is manifested through musical performance has been neglected. The authors of Voices, Bodies, Practices are all musician-researchers: the book employs artistic research to explore how embodied performing “voices” can emerge from the interactions of individual performers and composers, musical materials, instruments, mediating technologies, and performance contexts.
Performing Human Rights
This book enhances critical perspectives on human rights through the lens of performance studies and argues that contemporary artistic interventions can contribute to our understanding of human rights as a critical and embodied doing. This study is situated in the contemporary discourse of asylum and political art practices. It argues for the need to reimagine human rights as performative and embodied forms of recognition and practical honouring of our shared vulnerability and co-dependency. It contributes to the debate of theatre and migration, by understanding that contemporary asylum issues are complex and context specific, and that they do not only pertain to the refugee, migrant, asylum seeker or stateless person but also to privileged constituencies, institutional structures, forms of organisation and assembly. The book presents a unique mixed-methods approach that focuses equally on performance analyses and on political philosophy, critical legal studies and art history – and thus speaks to a range of politically interested scholars in all four fields.
