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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.
If you have tattoos, who owns the rights to the imagery inked on your body? What about the photos you just shared on Instagram? And what if you are an artist, responding to the surrounding landscape of preexisting cultural forms? Most people go about their days without thinking much about intellectual property, but it shapes all aspects of contemporary life. It is a constantly moving target, articulated through a web of laws that are different from country to country, sometimes contradictory, often contested. Some protections are necessary-not only to benefit creators and inventors but also to support activities that contribute to the culture at large-yet overly broad ownership rights stifle innovation. Is It Ours? takes a fresh look at issues of artistic expression and creative protection as they relate to contemporary law. Exploring intellectual property, particularly copyrights, Martha Buskirk draws connections between current challenges and early debates about how something intangible could be defined as property. She examines bonds between artist and artwork, including the ways that artists or their heirs retain control over time. The text engages with fundamental questions about the interplay between authorship and ownership and the degree to which all expressions and inventions develop in response to innovations by others. Most importantly, this book argues for the necessity of sustaining a vital cultural commons.
A personal and expert account of the artists and events that defined the medium's first 50 years, written a true expert in the field 'London's book excites because it brings new artists into a lineage worthy of greater stuff. Her passion for lesser-known figures ... is contagious.' - ARTnews, The Best Art Books of 2020 Since the introduction of portable consumer electronics nearly a half century ago, artists throughout the world have adapted their latest technologies to art-making. This first-hand account by the curator who has been following video art from its beginnings in the late 1960s, when artists first adapted portable consumer technology to art-making, spotlights video's ongoing importance in the art world, tracing the genre's development alongside the advances in technology that have continued to open up new possibilities for artists. London has worked closely and personally with the artists she writes about, who span generations, including Joan Jonas, Nam June Paik, Bill Viola, Shirin Neshat, Pipilotti Rist, Miranda July, Ragnar Kjartansson, and Ian Cheng. The text is both art-historical and personal - weaving together background information and insightful interpretations with unique anecdotes and experiences to trace the history of video art as it transformed into the broader field of media art - from analog to digital, small TV monitors to wall-scale projections, and clunky hardware to user-friendly software. In doing this, she reveals how video evolved from fringe status to be seen as one of the foremost art forms of today.
These sketchbooks, the work of the acclaimed Scottish artist Barbara Rae CBE RA during her three journeys towards the Northwest Passage in the depths of the Arctic Circle in 2015, 2016 and 2017, record in colourful and assured brush strokes the icebergs, frozen bays and snowdrifts of this often hostile landscape. Polar bears roam and the Northern Lights dance across its pages, accompanied by Rae's handwritten notes in which she records her experiences and her immediate reactions to this harsh, unforgiving environment. Each page of the sketchbooks is meticulously reproduced, and the handsomely bound volume sits comfortably in the hand, making it the perfect gift for anyone interested in painting or exploration. Each page of the sketchbooks is meticulously reproduced, and the handsomely bound volume sits comfortably in the hand, making it the perfect gift for anyone interested in painting or exploration.
A radically urgent intervention, An Inconvenient Black History of British Musical Theatre: 1900 - 1950 uncovers the hidden Black history of this most influential of artforms. Drawing on lost archive material and digitised newspapers from the turn of the century onwards, this exciting story has been re-traced and restored to its rightful place. A vital and significant part of British cultural history between 1900 and 1950, Black performance practice was fundamental to resisting and challenging racism in the UK. Join Mayes (a Broadway- and Toronto-based Music Director) and Whitfield (a musical theatre historian and researcher) as they take readers on a journey through a historically-inconvenient and brilliant reality that has long been overlooked. Get to know the Black theatre community in London's Roaring 20s, and hear about the secret Florence Mills memorial concert they held in 1928. Acquaint yourself with Buddy Bradley, Black tap and ballet choreographer, who reshaped dance in British musicals - often to be found at Noel Coward's apartment for late-night rehearsals, such was Bradley's importance. Meet Jack Johnson, the first African American Heavyweight Boxing Champion, who toured Britain's theatres during World War 1 and brought the sounds of Chicago to places like war-weary Dundee. Discover the most prolific Black theatre practitioner you've never heard of, William Garland, who worked for 40 years across multiple continents and championed Black British performers. Marvel at performers like cabaret star Mabel Mercer, born in Stafford in 1900, who sang and conducted theatre orchestras across the UK, as well as Black Birmingham comedian Eddie Emerson, who was Garland's partner for decades. Many of their names and works have never been included in histories of the British musical - until now.
Performance Studies: The Basics offers an overview of the multiple, often overlapping definitions of performance, from performance art, performance as everyday life, and rituals, to the performative dimensions of identity, such as gender, race and sexuality. This book defines the interdisciplinary field of performance studies as it has evolved over the past four decades at the intersection of academic scholarship and artistic and activist practices. It discusses performance as an important means of communicating and of understanding the world, highlighting its intersections with critical theory and arguing for the importance of performance in the study of human behaviour and social practices. Complete with a helpful glossary and bibliography, as well as suggestions for further reading, this book is an ideal starting point for those studying performance studies as well as for general readers with an interest in the subject.
Tango and the Dancing Body in Istanbul explores the expansion of social Argentine tango dancing among Muslim actors in Turkey, pioneered in Istanbul despite the conservative rule of the Justice and Development Party (JDP) and Tayyip Erdogan. In this book, Melin Levent Yuna questions why a dance that appears to publicly represent an erotic relationship finds space to expand and increase dramatically in the number of contemporary Turkish Muslim tango dancers, particularly during a conservative rule. Even during the 2020 Covid-19 pandemic, tango dance classes, gatherings, and messages flourished on YouTube, Facebook, Instagram, and Zoom. Urban Turkey and its tango dance performances provide one symbol and example of how neoliberal capitalism could go hand in hand with conservatism by becoming a bridge between Europe and the Middle East. This study largely focuses on the dancers' perspective while presenting the policies of Erdogan. It presents the social characteristics of the tango dancers, the meanings they attach to their bodies and their dance as well as what this dance reflects about them - besides the policies of the Justice and Development Party. The book approaches the tango dance and its dancing body in terms of layers of meaning systems in a neoliberal and conservative context. This study will be of great interest to students and scholars in dance, anthropology, cultural studies, and performance studies.
Pandemic Performance chronicles the many ways that people are surviving/thriving through performance in a global pandemic. Covering artists and events from across the United States: from New York to California and from South Dakota to Texas, the chapters are equal parts theory and practice, weaving scholarship with personal experience from contributors who are interdisciplinary artists, scholars, journalists, and community organizers providing unique and invaluable perspectives on the complicated work of resilience during COVID-19. This study will hold interest for students and scholars in the performing arts, arts, and social justice as well as professional artmakers and creative community organizers.
This guide provides educators, professionals, and parents with an easy-to-follow and comprehensive approach to utilizing improvised theatre as a tool to teach social and communication skills to individuals on the autism spectrum. Opening with the philosophy of the curriculum and the considerations of mental health, play, and environmental factors on individuals with autism, the book then breaks down specific activities, suggests course sequencing, and explains how each activity works and applies to desired outcomes. Packed with dozens of activities and explanations, the book includes all the information necessary to design a full curriculum or create an at-home learning program for parents. By combining the fun and engaging atmosphere of improvisational theatre with the systematic teaching of social skills, professionals and parents can cultivate learning in a way that keeps students engaged while providing long-lasting improvements in social interaction, self-confidence, and communication.
The Theatre of Luis Valdez focuses on the life and work of American playwright and director Luis Valdez, probably best known for his landmark 1979 play Zoot Suit - the first play by a Latinx playwright to appear on Broadway - and founder of El Teatro Campesino, the oldest surviving community theatre in the United States. Built around first-hand discussions of Valdez's work, this collection gives an in-depth understanding of where 'the godfather of Chicano theatre' fits in the grand scheme of American drama and performance. Collaborators Edward James Olmos and Alma Martinez talk about working with Valdez and El Teatro Campesino; scholar Leticia Garcia interviews Jorge Huerta, the leading authority on Chicanx and Latinx theatre on the impact of Valdez work; and Luis Valdez himself contributes a lecture on all aspects of his craft from political resistance and the migrant experience to actor training and dramatic form. A concise and accessible study, 4x45 || Luis Valdez is the go-to resource for scholars, students and theatre practitioners looking for an introduction to this seminal figure in modern American performance.
First Published in 1943, The New Soviet Theatre presents Joseph Macleod's take on the development and rapid changes in the Soviet Theatre since late 1930s. Through scattered articles and reports, books and bulletins, and his own visits to the USSR, Macleod showcases what we know as 'Socialist Realism'. He brings themes like the shortcomings of the old theatre; the audience beyond the Caucasus; new socialist audiences; Alexey Popov of the Central Theatre of the Red Army; new writers and new plays; and popularity of Shakespeare both in the central theatres and in remoter and unexpected places. Written graphically but founded on scholarship this book will be an essential read for scholars and researchers of history of theatre, European theatre, theatre and performance studies.
First Published in 1951, A Soviet Theatre Sketch Book presents Joseph Macleod's take on Russian Theatre in a semi-fictional way to show the effect of the productions upon different audiences. By using his pen as an artist uses his pencil, he gives, for the first time, an account of theatre audiences as composed of individual human beings and is able to paint the scenes vividly without neglecting the technical methods of the Soviet stage. By supple use of the sketch- book form, theatres, theatre-schools, actors, and actresses including some no longer appearing are painted into an all-over view of Russian and Ukrainian post-war life. In this book the author writes less immediately about the Soviet Union and does not depend on topicality or stop press news. Joseph Macleod and his wife visited the Soviet Union as the guests of the Russian and Ukrainian Societies for Cultural Relations with Foreign Countries. This book will be of interest to scholars and researchers of theatre, history of theatre, and performance studies.
Performing Truth answers the most pressing questions facing any theatre-makers who are wrestling with how to present historical, political or socioeconomic information in an engaging, entertaining, and galvanizing way. How to make data compelling and documents mobilizing? How to keep an audience interested in what might be dry, dire, or depressing? How to surprise an audience and keep them alert? Collecting together the performance texts of international performance artist and activist L.M. Bogad, this book accompanies each script with essays that further explore that work's performance strategies. It also equips readers with specific resources and pedagogical tools to help those wishing to stage these pieces or create their own work to engage with similar topics. Bogad also provides "takeaways" for each piece, illustrating the challenges of its particular subject matter and how to overcome those challenges with innovations unique to performance art. This is a key guidebook for artists and theatre-makers facing the challenges of engaging with information in an era of fake news, propaganda bots, and the polarization of ideological spheres, as well as students and teachers taking on that challenge in theatre studies, performance studies and performing arts classrooms.
This book considers and discuss aspects of the management of the D'Oyly Carte Opera Company in the twentieth century since the death of its founder Richard D'Oyly Carte and concentrate on key events which contributed to its demise in 1982. In this project, Paul Seeley follows the analytical model that no single factor may trigger the collapse but several, both external and internal. In the case of an opera company the external factors may include public taste and market forces, but more significant are the internal factors such as the management decisions taken in response to external factors and how these compare with the original artistic aims, aspirations and business models of the founder. This is a study by someone with close observation of the administration, for at the 1982 demise Paul was assistant to the company manager, having earlier served on the music staff. The book will be of great interest to music historians, theatre historians, and arts management professionals, but also for a wider public interested in Gilbert and Sullivan opera and production.
Home and Away explores how performative writing serve as a process that critically interrogates space/place in relation to personal, social, cultural, and political understanding. By combining aesthetic expression and inquiry with critical reflection, the contributors in this volume use a variety of narrative strategies-autoethnography, mystoriography, creative cartography, the lyric essay, fictocriticism, collage, the screenplay, and poetics-to position place as the starting point for the aesthetic impulse. The anthology showcases the power and potential of performative writing to illustrate the ways we interact with and in place; provides examples of the ways one can express lived experience; and demonstrates the ways discourses overlap while extending our understanding of identity and place, whether one is home or away. Although the chapters are fixed by their literary form in this volume, many of chapters are best realized in a performance or shared publicly via an oral tradition. This collection will be of great interest to students and scholars in performance, communication studies, and literature.
How can we dance here - so the aliveness of everything past and present can surface and shimmer? Paula Kramer's beautiful, evocative and touching 'contemplations' take us on a double journey that starts with Site (one in Helsinki, one in Berlin), moves to Practice and concludes in Performance. Based on a 3-year site-based research project (a post-doc at Uniarts Helsinki's Centre for Artistic Research) the book explores her embodied research into intermateriality. It addresses the question that guided her research: how does movement and choreography emerge in collaboration with site? More specifically: how do bodies, materials, sites, organisms, history, tuning, training, phenomena, events and the weather intermingle and speak, bringing forth what we later might call movement, dance or choreography? The two sites are Lanskari - the wildest and least populated of Helsinki's Suomenlinna islands - and Martin-Gropius-Bau on Berlin's Sudplatz, a neighbour of the Berlin Wall, of Berlin's House of Representatives and former home of the first Stasi, and of the former SS and Gestapo headquarters. The book explores narration, poetry and theory born out of specific experiences of moving-dancing, being, eating, choreographing, performing, in and with the two sites. The author speaks alongside others - experts in history, geology, performance - and invites us to see and experience sites, dance and movement differently.
Affective Movements, Methods and Pedagogies invites readers to think with affect about performance, pedagogies and their inherent activist, embodied and collective natures. It works across multiple spheres to help readers understand how to deploy affective approaches rather than to simply think with affect theory about traditional methods. The book is structured and curated across three main thematic sections: affective movements, methods and pedagogies, each of which treats the core explorations of affect and performance through a different perspective. It is concerned with the ways performance and theatrical methods work with and through a theoretics of affect. The sixteen chapters include work that models theoretical practices in writing, and demonstrates how theorising affect and its methods is itself a performative practice. The contributors offer rich examples from diverse geopolitical as well as disciplinary contexts, innovative methods, and finally, intersectional theoretics. This collection will be of interest to higher education students exploring methodologies, and academic researchers and teachers in the fields of performance studies, communication, critical studies, sociology and the arts.
Actor Training in Anglophone Countries offers a firsthand account of the most significant acting programs in English-speaking countries throughout the world. The culmination of archival research and fieldwork spanning six years, it is the only work of its kind that studies the history of actor training from an international perspective. It presents the current moment as crucial for student actors and those who teach them. As the profession continues to change, new and progressive approaches to training have become as urgent as they are necessary. Using drama schools and universities as its subjects of inquiry, this book investigates acting programs in the UK, Ireland, the US, Canada, Australia, and New Zealand. Among the case studies are the Royal Academy of Dramatic Art, National Theatre School of Canada, Western Australian Academy of Performing Arts, and Carnegie Mellon University. All recognized for their distinguished reputations by industry professionals and acting teachers alike, the book examines each program's pedagogical approach, administrative structure, funding apparatus, and alumni success. In doing so, it identifies the challenges facing acting schools today and offers a new direction for training in the twenty-first century. Actor Training in Anglophone Countries will be of interest to theatre and performance scholars, artists, students, and teachers.
The Andy Warhol Soup Can Paint By Numbers Kit from Galison includes line-drawing of Warhol's iconic Campbell's Soup Can masterpiece. This paint by numbers piece is designed for anyone to replicate Warhol's famous work. * Box Size: 8.25 x 10.25 x 1.75", 210 x 260 x 45 mm * One Canvas: 8 x 10", 203 x 254 mm * Color guide / Instruction Sheet * One Wooden Easel, Two Paint Brushes * 6 Acrylic Paints
This book investigates transnational processes through the analytic lens of cultural performance. Structured around key concepts of performance studies--commons, skills, and traces--this edited collection addresses the political, normative, and historical implications of cultural performances beyond the limits of the (US) nation-state. These three central aspects of performance function as entryways to inquiries into transnational processes and allow the authors to shift the discussion away from text-centered approaches to intercultural encounters and to bring into focus the dynamic field that opens up between producer, art work, context, setting, and audience in the moment of performance as well as in its afterlife. The chapters provide fresh, performance-based approaches to notions of transcultural mobility and circulation, transnational cultural experience and knowledge formation, transnational public spheres, and identities' rootedness in both specific local places and diasporic worlds beyond the written word. This book will be of great interest to scholars and students of American studies, performance studies, and transnational studies
Curating Dramaturgies investigates the transformation of art and performance and its impact on dramaturgy and curatorship. Addressing contexts and processes of the performing arts as interconnecting with visual arts, this book features interviews with leading curators, dramaturgs and programmers who are at the forefront of working in, with, and negotiating the daily practice of interdisciplinary live arts. The book offers a view of praxis that combines perspectives on theory and practice and looks at the way that various arts institutions, practitioners and cultural agents have been working to change the way that art and performance have developed and experienced by spectators in the last decade. Curating Dramaturgies argues that cultural producers and scholars are becoming more cognizant of this overlapping and transforming field. The introductory essay by the editors explores the rise of interdisciplinary live arts and its ramifications in cultural and political terms. This is further elaborated in the interviews with 15 diversely placed arts professionals who are at the forefront of rethinking and consolidatingthe ever-evolving field of the visual arts and performance.
In Digital Image Systems, Claus Gunti examines the antagonizing reactions to digital technologies in photography. While Thomas Ruff, Andreas Gursky and Joerg Sasse have gradually adopted digital imaging tools in the early 1990s, other photographers from the Dusseldorf School have remained faithful to film-based technologies. By evaluating the aesthetic and discursive preconditions of this situation and by extensively analyzing the digital work of these three photographers, this book shows that the digital turn in photography was anticipated by the conceptualization of images within systems, and thus offers new perspectives for understanding the "digital revolution".
Wonder has an established link to the history and philosophy of science. However, there is little acknowledgement of the relationship between the visual arts and wonder. This book presents a new perspective on this overlooked connection, allowing a unique insight into the role of wonder in contemporary visual practice. Artists, curators and art theorists give accounts of their approach to wonder through the use of materials, objects and ways of exhibiting. These accounts not only raise issues of a particular relevance to the way in which we encounter our reality today but ask to what extent artists utilize the function of wonder purposely in their work.
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