Interior stylist Bea Mombaers is passionate about vintage and design; she's always on the lookout for special finds and unique objects. Over time she developed a distinctive signature style. This book presents Bea's work and universe as seen through the lenses of different photographers. The photos show interiors arranged by Bea, but also intriguing details, beautiful still lifes and objects with a story Bea feels inspired by. The photos are presented according to the key moments in a day: waking up, breakfast, break, lunch, coffee, apero, dinner and party. Bea is a source of inspiration and interior dreams, and a personal view on Bea Mombaers's world and her favourite projects up to now.

"Mourning Sex" employs an impressive range of cultural representations to examine how cultures perform their mourning. The texts examined range from a recent film made by a man dying of AIDS, to the remains of the Rose theatre. Other chapters explore the performance of grief through: the paintings of Caravaggio and Holbein; the Anita Hill and Clarence Thomas hearings; and Freud's patient Anna O.
In "Mourning Sex," Phelan meditates upon the trauma of loss, erotically and performatively, in an extraordinary fusion of critical and creative writing which erodes the distinction between art and theory, fact and fiction.
This work by the author of the highly-accalimed "Unmarked" makes a stunning advance in performance theory in dialogue with psychoanalysis, queer theory, and cultural studies. relation to texts and events ranging from the paintings of Caravaggio and Holbein, to Massi and Friedman's film "Silverlake Life" to the Anita Hill and Clarence Thomas hearing Peggy Phelan meditates upon the performance and erotics of the trauma of loss. Experimental and theoretically informed Mourning Sex advances performance theory in dialogue with psychoanalysis, queer theory, and cultural studies. "Mourning Sex" examines how cultures perform their mourning. Employing a wide range of cultural representations--from Caravaggio's 1601 painting, "The Incredulity of St. Thomas" to Tom Joslin's, Mark Massi's and Peter Friedman's 1992 film "Silver Lake Life: The View From Here," "Mourning Sex" meditates on the trauma of loss, erotically, and performatively. Experimental and theoretically informed, "Mourning Sex" advances performance theory in dialogue with psychoanalysis, queer theory, and culturalstudies.

This is a book about the exhilaration and the catastrophe of embodiment. Analyzing different instances of injured bodies, Peggy Phelan considers what sustained attention to the affective force of trauma might yield for critical theory. Advocating what she calls "performative writing", she creates an extraordinary fusion of critical and creative thinking which erodes the distinction between art and theory, fact and fiction.
The bodies she examines here include Christ's, as represented in Caravaggio's painting The Incredulity of St Thomas, Anita Hill's and Clarence Thomas's bodies as they were perfomed during the Senate hearings, the disinterred body of the Rose Theatre, exemplary bodies reconstructed through psychoanalytic talking cures, and the filmic bodies created by Tom Joslin, Mark Massi, and Peter Friedman in Silverlake Life: The View From Here.
This new work by the highly-acclaimed author of Unmarked makes a stunning advance in performance theory in dialogue with psychoanalysis, queer theory, and cultural studies.

African cinema in the 1960s originated mainly from Francophone countries. It resembled the art cinema of contemporary Europe and relied on support from the French film industry and the French state. Beginning in1969 the biennial Festival panafricain du cin\u00e9ma et de la t\u00e9l\u00e9vision de Ouagadougou (FESPACO), held in Burkina Faso, became the major showcase for these films. But since the early 1990s, a new phenomenon has come to dominate the African cinema world: mass-marketed films shot on less expensive video cameras. These \u201cNollywood\u201d films, so named because many originate in southern Nigeria, are a thriving industry dominating the world of African cinema.Viewing African Cinema in the Twenty-first Century is the first book to bring together a set of essays offering a unique comparison of these two main African cinema modes.

The Explicit Body in Performance interrogates the avant-garde precedents and theoretical terrain that combined to produce feminist performance art. Among the many artists discussed are:
* Carolee Schneemann
* Annie Sprinkle
* Karen Finley
* Robbie McCauley
* Ana Mendieta
* Ann Magnuson
* Sandra Bernhard
* Spiderwoman
Rebecca Schneider tackles topics ranging across the 'post-porn modernist movement', New Right censorship, commodity fetishism, perspectival vision, and primitivism. Employing diverse critical theories from Benjamin to Lacan to postcolonial and queer theory, Schneider analyses artistic and pop cultural depictions of the explicit body in late commodity capitalism.
The Explicit Body in Performance is complemented by extensive photographic illustrations and artistic productions of postmodern feminist practitioners. The book is a fascinating exploration of how these artists have wrestled with the representational structures of desire.

eBook available with sample pages: 0203421078

The Explicit Body in Performance interrogates the avant-garde precedents and theoretical terrain that combined to produce feminist performance art. Among the many artists discussed are:
* Carolle Schneemann
* Annie Sprinkle
* Karen Finley
* Robbie McCauley
* Ana Mendieta
* Ann Magnuson
* Sandra Bernhard
* Spiderwoman
Rebecca Schneider tackles topics ranging across the 'post-porn modernist movement', New Right censorship, commodity fetishism, perspectival vision, and primitivism. Employing diverse critical theories from Benjamin to Lacan to postcolonial and queer theory, Schneider analyses artistic and pop cultural depictions of the explicit body in late commodity capitalism.
The Explicit Body in Performance is complemented by extensive photographic illustrations and artistic productions of postmodern feminist practitioners. The book is a fascinating exploration of how these artists have wrestled with the representational structures of desire.

On America will respond to the powerful presence in contemporary culture of aesthetic forms and political strategies derived from North America. Counterpointing Letters from Europe, this book will address the use and abuse of images of and from North America, the deconstruction in performance theory and practice of North American art, film and performance, and the presentation of America as genre and fiction.

This book considers dancer, teacher, and choreographer Mary Wigman, a leading innovator in Expressionist dance whose radical explorations of movement and dance theory are credited with expanding the scope of dance as a theatrical art. Now reissued, this book combines: a full account of Wigman's life and work an analysis of her key ideas detailed discussion of her aesthetic theories, including the use of space as an "invisible partner" and the transcendent nature of performance a commentary on her key works, including Hexentanz and The Seven Dances of Life an extensive collection of practical exercises designed to provide an understanding of Wigman's choreographic principles and her uniquely immersive approach to dance. As a first step towards critical understanding, and as an initial exploration before going on to further, primary research, Routledge Performance Practitioners are unbeatable value for today's student.

New Theatre in Italy 1963-2013 makes the case for the centrality of late-millennium Italian avant-garde theatre in the development of the new forms of performance that have emerged in the 21st Century. Starting in the Sixties, young artists and militants in Italy reacted to the violence in their streets and ruptures in the family unit that are now recognized as having been harbingers of the end of the global post-war system. As traditional rituals of State and Church faltered, a new generation of cultural operators, largely untrained and driven away from political activism, formed collectives to explore new ways of speaking theatrically, new ways to create and experience performance, and new relationships between performer and spectator. Although the vast majority of the works created were transient, like all performance, their aesthetic and social effects continue to surface today across media on a global scale, affecting visual art, cinema, television and the behavioural aesthetics of social networks.

This unique book proposes a re-reading of the relationship between artists and the contemporary museum. In Australia in particular, the museum has played a significant role in the colonial project and this has generally been considered as the predominant mode of artists' engagement with such institutions and collections. Australian Artists in the Contemporary Museum expands the post-colonial frame of reference used to interpret this work, to demonstrate the broader implications of the relationship between artists and the museum, and thus to offer an alternative way of understanding recent contemporary practices. The authors' central argument is that artists' engagement with the museum has shifted from politically motivated critique taking place in museums of fine art, towards interventions taking place in non-art museums that focus on the creation of knowledge more broadly. Such interventions assume a number of forms, including the artist acting as curator, art works that highlight the use of taxonomic modes of display and categorization, and the re-consideration of the aesthetics of collections to suggest different ways of interpreting objects and their history. Central to these interventions is the challenge to better connect the museum and its public. The book will be essential reading for scholars, professionals and students in the fields of contemporary art and museum studies, art history, and in the museum sector. These include artists, curators, museum and gallery professionals, postgraduate researchers, art historians, designers and design scholars, art and museum educators, and students of visual art, art history, and museum studies. This project has been assisted by the Australian government through the Australia Council for the Arts, its arts funding and advisory body.

Contents:
Introduction by Jill Dolan Part One: Theory 1. Art versus Business: the role of women in American Theatre 2. Women for Women 3.The WOW Cafe 4. Notes on Lesbian Theatre 5. Women at the Helm 6. Staging the Obscene Body 7. Brechtian Theory/Feminist Theory 8. Feminist Theory, Post-Structuralism and Performance 9. In Defence of the Discourse Part Two: Practice 10. Passing Language: ADS and Fires in the Mirror 11. Anna Deaveare Smith 12. Interview with Robbie McCauley 13. Holly Hughes 14. Reading Past the Heterosexual Imperative 15. Karen Finley 16. Motherhood According to Finley Part Three: Texts 17. Dress Suits to Hire 18. The Constant State of Desire

Contents:
Introduction by Jill Dolan Part One: Theory 1. Art versus Business: the role of women in American Theatre 2. Women for Women 3.The WOW Cafe 4. Notes on Lesbian Theatre 5. Women at the Helm 6. Staging the Obscene Body 7. Brechtian Theory/Feminist Theory 8. Feminist Theory, Postructuralism and Performance 9. In Defence of the Discourse Part Two: Practice 10. Passing Language: ADS and Fires in the Mirror 11. Anna Deaveare Smith 12. Interview with Robbie McCauley 13. Holly Hughes 14. Reading Past the Heterosexual Imperative 15. Karen Finley 16. Motherhood According to Finley Part Three: Texts 17. Dress Suits to Hire 18. The Constant State of Desire

This volume offers a concise guide to the teaching and philosophy of one of the most significant figures in twentieth century actor training. Jacques Lecoq's influence on the theatre of the latter half of the twentieth century cannot be overestimated. Now reissued Jacques Lecoq is the first book to combine: an historical introduction to his life and the context in which he worked an analysis of his teaching methods and principles of body work, movement, creativity, and contemporary theatre detailed studies of the work of Theatre de Complicite and Mummenschanz practical exercises demonstrating Lecoq's distinctive approach to actor training.

Originally published in 2003, Charles Edward Horn's Memoirs of His Father and Himself is an annotated collection of the memoirs of Charles Edward Horn. They include an account of Horn's father, Charles Frederick Horn, who arrived penniless in London in 1782 and rose to become music master to Queen Charlotte. Today he is most remembered for his pioneering publications of J.S. Bach's music in England. Charles Edward Horn's memoir covers his activities in England and Ireland and provide numerous details of English musical life in the Georgian era not previously known to scholars. They are supplemented in this book by transcripts of four other autobiographical accounts of the Horns, a summary of their extant correspondence and a chronology of their activities.

Visually stunning, informative, and broad in scope, this comprehensive overview gathers the works of renowned still-life painter Scott Fraser. Beautiful full color images of his body of work are accompanied by companion drawings and detailed close-ups, demonstrating the artist's approach to painting. A summary of his work, an interview of Fraser by artist Robert C. Jackson, and an extensive chronology of works allow the reader to explore the path of growth and development that took him from a landscape painter in the 1980s to the nationally renowned still-life painter that Fraser is today. His intense scrutiny of objects is revealed in full-page details of several important works. The over 200 drawings and paintings included here also reveal how Fraser's passion for art history is a strongly recurring theme, often demonstrating itself in surprising ways. This book offers valuable insights for collectors, museums, students, academics, artists, and everyone interested in contemporary still life painting.

The Odin Teatret Archives presents collections from the archives of one of the foremost reference points in global theatre. Letters, notes, work diaries, articles, and a wealth of photographs all chart the daily activity that underpins the life of Odin Teatret, telling the adventurous, complex stories which have produced the pioneering work that defines Odin's laboratory approach to theatre. Odin Teatret have been at the forefront of theatrical innovation for over fifty years, devising new strategies for actor training, knowledge sharing, performance making, theatrical alliances, and ways of creating and encountering audiences. Their extraordinary work has pushed boundaries between Western and Eastern theatre; between process and performance; and between different theatre networks across the world. In this unique volume, Mirella Schino brings together a never before seen collection of source materials which reveal the social, political, and artistic questions facing not just one groundbreaking company, but everyone who tries to make a life in the theatre.

The Odin Teatret Archives presents collections from the archives of one of the foremost reference points in global theatre. Letters, notes, work diaries, articles, and a wealth of photographs all chart the daily activity that underpins the life of Odin Teatret, telling the adventurous, complex stories which have produced the pioneering work that defines Odin's laboratory approach to theatre. Odin Teatret have been at the forefront of theatrical innovation for over fifty years, devising new strategies for actor training, knowledge sharing, performance making, theatrical alliances, and ways of creating and encountering audiences. Their extraordinary work has pushed boundaries between Western and Eastern theatre; between process and performance; and between different theatre networks across the world. In this unique volume, Mirella Schino brings together a never before seen collection of source materials which reveal the social, political, and artistic questions facing not just one groundbreaking company, but everyone who tries to make a life in the theatre.

Make motion capture part of your graphics and effects arsenal. This introduction to motion capture principles and techniques delivers a working understanding of today's state-of-the-art systems and workflows without the arcane pseudocodes and equations. Learn about the alternative systems, how they have evolved, and how they are typically used, as well as tried-and-true workflows that you can put to work for optimal effect. Demo files and tutorials provided on the downloadable resources deliver first-hand experience with some of the core processes.

There is nothing like Keith Vaughan's Journals. They represent one of the greatest pieces of confessional writing of the twentieth-century. Keith Vaughan was a painter and belonged to the Neo-Romantic group, other members including Graham Sutherland, John Minton, Michael Ayrton, Ceri Richards, John Piper and John Craxton. He was also gay and much troubled by his sexuality. 'Faced at the age of 27 with what then seemed the likelihood of imminent extinction before I had properly got started', he began the Journals in 1939 and only finished them at the very moment of his suicide in 1977.

The Journals are edited by Alan Ross, and in his words they are 'a self-portrait of astonishing honesty: devoid of disguise in any shape or form, or hypocrisy. It is difficult to think of anything in literature they resemble.' The earlier Journals, covering his war and his period of greatest creativity in the late 1940s and 1950s, 'are revealing for the light they shed on a painter's character and, to a lesser extent, working methods.' The last Journals chronicle 'a descent into hell . . . redeemed by their frankness, spleen and dry humour.'

First published in 1966 and then reissued in amplified form in 1989, it is the latter version Faber Finds is reissuing. The fuller edition itself has been out of print for a long time, so its renewed availability will be welcome.

Interpersonal coordination is an important feature of all social systems. From everyday activities to playing sport and participating in the performing arts, human behaviour is constrained by the need to continually interact with others. This book examines how interpersonal coordination tendencies in social systems emerge, across a range of contexts and at different scales, with the aim of helping practitioners to understand collective behaviours and create learning environments to improve performance. Showcasing the latest research from scientists and academics, this collection of studies examines how and why interpersonal coordination is crucial for success in sport and the performing arts. It explains the complex science of interpersonal coordination in relation to a variety of activities including competitive team sports, outdoor sports, racket sports, and martial arts, as well as dance. Divided into four sections, this book offers insight into: the nature, history and key concepts of interpersonal coordination factors that influence interpersonal coordination within social systems interpersonal coordination in competitive and cooperative performance contexts methods, tools and devices for improving performance through interpersonal coordination. This book will provide fascinating insights for students, researchers and educators interested in movement science, performance analysis, sport science and psychology, as well as for those working in the performing arts.

This book, first published in 1987, was the first major survey of the links between the visual arts and pop music over the last thirty years. It brings to light the ideas, styles and people who have influenced both the look of pop and the shape of art. It examines how pop uses art movements like Dada, Futurism and Surrealism in everything from the design of album covers to the creation of a group's look, stage act and video; how art uses pop, as a subject for painting, sculpture and design; the vital role of the British art school connection; and collaborations and cross-overs - between the visual arts and groups, musicians and movements.

In this unique book the author explores the history of pioneering computer art and its contribution to art history by way of examining Ernest Edmonds' art from the late 1960s to the present day. Edmonds' inventions of new concepts, tools and forms of art, along with his close involvement with the communities of computer artists, constructive artists and computer technologists, provides the context for discussion of the origins and implications of the relationship between art and technology. Drawing on interviews with Edmonds and primary research in archives of his work, the book offers a new contribution to the history of the development of digital art and places Edmonds' work in the context of contemporary art history.