First Published in 2004. Routledge is an imprint of Taylor and Francis, an informa company.

Nam June Paik (1932-2006) broke new ground in late-twentieth-century art, working on a global stage to transform video into an art medium. This book reflects on Paik s working method as well as the ideas and materials that inspired his art practice. It highlights the centrality of process and exploration across his career through seminal pieces from the early 1960s to the late-style painted TVs, large-scale sculptures, and drawings and provides an opportunity to follow Paik s lifelong engagement with new media and the development of his own visual language. Highlights include Paik s painted sections of the Berlin Wall (2005); Beuys Projection (1990), Paik s powerful video interpretation of his performance with Joseph Beuys in Tokyo; and his celebrated One Candle, Candle Projection (1988-2000), a live video installation of candlelight. The book features an essay by John G. Hanhardt, one of the foremost scholars of Paik s work. Extensive illustrations include numerous full-page plates and details, as well as rarely seen archival photographs of Paik by Peter Moore (1932-1993), dating from 1964 through 1977.

The Art of the Dead showcases the vibrant, charismatic poster art that emerged from the streets of San Francisco in 1964 and 1966. It traces the cultural, political, and historical influences of posters as art back to Japanese wood blocks through Bell Epoque, on to the Beatniks, the Free Speech Movement, and the Acid Tests. Featuring interviews and profiles of the key artists, including Rick Griffin, Stanley Mouse Miller, Alton Kelley, Wes Wilson, and Victor Moscoso.
The book uses Grateful Dead as the vehicle to tell the story of poster art as The Dead were the band that ultimately proved to be the most substantive and engaged partner for the artists and hence featured the best art of any rock 'n' roll band ever. The book will follow a chronological evolution of the art from the band's origination in 1965 through Jerry Garcia's death in 1995.
The book is in four-color throughout, featuring iconic and rare images as well as extensive process material, including sketches, original art, blue lines, film, and printing plates that show how the art was created. It will also include essays by Greil Marcus, Peter Coyote, and Victoria Binder, as well as essays on the elements of the printing process from the original art to the final poster.
Ultimately, the Art of the Dead makes the case that poster art is truly an original form of American fine art.

Global Media, Biopolitics and Affect shows how mediations of bodily vulnerability have become a strong political force in contemporary societies. In discussions and struggles concerning war involvement, healthcare issues, charity, democracy movements, contested national pasts, and climate change, performances of bodily vulnerability is increasingly used by citizens to raise awareness, create sympathy, encourage political action, and to circulate information in global media networks. The book thus argues that bodily vulnerability can serve as a catalyst for affectively charging and disseminating particular political events or issues by means of media. To investigate how, when and why that happens, and to evaluate the long-term social impacts of mediating bodily vulnerability, the book offers a theoretical framework for understanding the role of bodily vulnerability in contemporary digital media culture. Likewise, it presents a range of close empirical case studies in the areas of illness blogging, global protests after the killing of Neda Agda Soltan in Iran, charity communication, green media activism, online war commemoration and digital witnessing related to conflicts in Sarajevo and Ukraine.

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.

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.

Performance as Research (PAR) is characterised by an extraordinary elasticity and interdisciplinary drive. Performance as Research: Knowledge, Methods, Impact celebrates this energy, bringing together chapters from a wide range of disciplines and eight different countries. This volume focuses explicitly on three critical, often contentious themes that run through much discussion of PaR as a discipline: Knowledge - the areas and manners in which performance can generate knowledge Methods - methods and methodologies for approaching performance as research Impact - a broad understanding of the impact of this form of research These themes are framed by four essays from the book's editors, contextualising their interrelated conversations, teasing out common threads, and exploring the new questions that the contributions pose to the field of performance. As both an intervention into and extension of current debates, this is a vital collection for any reader concerned with the value and legitimacy of performance as research.

If theatre is a way of seeing, an event onstage but also a fleeting series of moments; not a copy or double but more vitally metamorphosis, transformation, and change, how might we speak to - and of - it? How do we envision and frame a fluid reality that moves faster than we can write? Arranged over two parts, 'Figurations' and 'Translations', Essays on Theatre and Change reflects on the animal, history, doubling, translation, and the performative potential of writing itself. Each fictocritical essay weaves between voices, genres and contexts to consider what theatre might be, offering a 'partial object' rather than a complete theory. Leaving the page radically open to its reader, Essays on Theatre and Change is a dazzling, multi-lensed account of what it is to think and write on theatre.

Richard Foreman has been writing, directing and designing avant-garde theatre in New York since he first founded his Ontological-Hysteric company there in 1968. In all that time, few directors have taken up the challenge of staging his problematic, rewarding texts, and Foreman's work remains under-explored by other practitioners. Richard Foreman: An American (Partly) in Paris argues that Foreman can productively be viewed as a (partly) European artist, whose thinking and theatre-making have been radically shaped by contact with Europe. Through a detailed account of his European productions, interviews with Foreman himself, a set of practical strategies for staging the plays and the full text of Foreman's previously unpublished play Georges Bataille's Bathrobe (1983), Neal Swettenham introduces the director's work to a new generation of readers and theatre-makers.

If theatre is a way of seeing, an event onstage but also a fleeting series of moments; not a copy or double but more vitally metamorphosis, transformation, and change, how might we speak to - and of - it? How do we envision and frame a fluid reality that moves faster than we can write? Arranged over two parts, 'Figurations' and 'Translations', Essays on Theatre and Change reflects on the animal, history, doubling, translation, and the performative potential of writing itself. Each fictocritical essay weaves between voices, genres and contexts to consider what theatre might be, offering a 'partial object' rather than a complete theory. Leaving the page radically open to its reader, Essays on Theatre and Change is a dazzling, multi-lensed account of what it is to think and write on theatre.

This third volume in the 4x45 series addresses some of the most current and urgent performance work in contemporary theatre practice. As people from all backgrounds and cultures criss-cross the globe with an ever-growing series of pushes and pulls guiding their movements, this book explores contemporary artists who have responded to various forms of migration in their theatre, performance and multimedia work. The volume comprises two lectures and two curated conversations with theatre-makers and artists. Danish scholar of contemporary visual culture, Anne Ring Petersen, brings artistic and political aspects of 'postmigration' to the fore in an essay on the innovations of Shermin Langhoff at Berlin's Ballhaus Naunynstrasse, and the decolonial work of Danish-Trinidadian artist Jeannette Ehlers. The racialised and gendered exclusions associated with navigating 'the industry' for non-white female and non-white non-binary artists are interrogated in Melbourne-based theatre scholar Paul Rae's interview with two Australian performers of Indian heritage, Sonya Suares and Raina Peterson. UK playwrights Joe Murphy and Joe Robertson of Good Chance Theatre discuss their work in dialogue, and with their colleague, Iranian animator and illustrator Majid Adin. Emma Cox's essay on Irish artist Richard Mosse's video installation, Incoming, discusses thermographic 'heat signatures' as a means of seeing migrants and the imperative of envisioning global climate change. An accessible and forward-thinking exploration of one of contemporary performance's most pressing influences, 4x45 | Performance and Migration is a unique resource for scholars, students and practitioners of Theatre Studies, Performance Studies and Human Geography.

Examining the geometry of pattern, repetition and colour within her surroundings, British artist Tess Jaray has explored painterly perspective since the 1960s. This comprehensive and richly illustrated volume was produced in celebration of a 2014 exhibition of paintings and prints by Jaray. Although her work is resolutely abstract, Jaray's two-dimensional work and public art - both of which celebrate the vitality inherent within archetypal rhythms and patterns - have been informed by her interest in the spaces of Italian Renaissance art and architecture, along with more contemporary influences. Jaray focuses on producing the illusion of space, using perspective to create a field of spatial paradox that equates to distance and closeness in the mind. In many of her works the area of pattern - whether polygons, waves or rectangles - is contained by a strong, grounding background colour, thereby controlling the movement of the forms. From Italian architecture and Islamic mosaics to Kazimir Malevich and Lucio Fontana, this volume situates the artist within the tradition of abstract painting and the history of art. Featuring texts by fellow artists, alongside illustrations of a large group of Jaray's paintings, this first monograph explores her contemporary influence.

This is the first history of the harp in Scotland to be published. It sets out to trace the development of the instrument from its earliest appearance on the Pictish stones of the 8th century, to the present day. Describing the different harps played in the Highlands and the Lowlands of Scotland, the authors examine the literary and physical evidence for their use within the Royal Courts and "big houses" by professional harpers and aristocratic amateurs. They vividly follow the decline of the wire-strung clarsach from its links with the hereditary bards of the Highland chieftains to its disappearance in the 18th century, and the subsequent attempts at the revival of the small harp during the 19th and 20th centuries. The music played on the harp, and its links with the great families of Scotland are described. The authors present, in this book, material which has never before been brought to light, from unpublished documents, family papers and original manuscripts. They also make suggestions, based on their research, about the development and dissemination of the early Celtic harps and their music. This book, therefore, should be of great interest, not only to harp players but to historians, to all musicians in the fields of traditional and early music, and to any reader who recognises the importance of these beautiful instruments, and their music, throughout a thousand years of Scottish culture.

Originally published in 1982. The songs on which this study is based were once vibrant in the throats and ears and minds of living people. This book examines the songs and their meanings in relation to the lives of those people, and relates them to the cultural tradition and practice of which they were an integral part. The art of village song represents a sense of cohesiveness and mutual identity around local patterns of kinship, social groupings, territorial orientations and cultural relationships. The actual ways in which songs were part of village life is of course highly problematic, but this book endeavours, most of all, to present an understanding of the place of song in the social life of villagers.

What is artistic resonance and how can it be linked to one's life and one's art? This latest book of essays from legendary theatre director Anne Bogart, considers the creation of resonance in the artistic endeavour, with a focus on the performing arts. The word 'resonance' comes from the Latin meaning to 're-sound' or 'sound together'. From music to physics, resonance is a common thread that evokes a response and, in general, is understood as a quality that makes something personally meaningful and valuable. For Bogart, curiosity is a key personal quality to be nurtured throughout life and that very same curiosity, as an artist, thinker and human being. Creating pathways between performance theory, art history, neuroscience, music, architecture and the visual arts, and consistently forging new thought-paths, the writing draws upon Anne Bogart's own life and artistic journeys to illuminate potent philosophical ideas. Woven with personal anecdotes, stories and reflections, this is a book that will be of interest to any theatre artist and anyone who reflects on the power of the arts, of theatre-making and what it means to be engaged in the artistic process.

This title was first published in 1988: In this book the author has translated five postwar experimental Japanese plays and recreated the artistic, social and spiritual milieu in which they were created. He describes the turning point in Japanese thinking about the nature and limitations of a Western-oriented modern culture, and the creation of "underground" theatres which in which evolved a new mythology of history. Professor Goodman sees these developments as an interplay between personal and political (ie revolutionary) salvation.

Bringing together photographs taken during the mid 1970s through to the early 1980s, Turn and Face the Strange covers the eclectic range of subjects that passed in front of Jane England's camera. England photographed friends and associates at a time when marginalised groups and sub-cultures merged and came together with a shared sense of nihilism and decadence. Her images encompass the early years of London's Punk era and the birth of New Romanticism. Her depictions of non-conformist urban tribes provide an intimate portrayal of sophistication and squalor, the demi-monde who existed between the street and the more exotic echelons of the art and fashion scenes. By not aligning herself with any of the number of sub-cultures that emerged across London and beyond in the late twentieth century, England was able to photograph club kids and Teddy boys, transvestites, artists and aspirant models. While a number of England's subjects such as Vivienne Westwood and Gilbert & George have become icons of the period, many of the others are forgotten, having retreated to the suburbs or died tragically young.

Part of the popular and successful Routledge Performance Practitioners series Includes a wealth of both original exercises and invaluable primary material Written with input from Hart's close collaborators and company members

Criticism of contemporary art is split by an opposition between activism and the critical function of form. Yet the deeper, more subterranean terms of art-judgment are largely neglected on both sides. These essays combine a re-examination of the terms of judgement of contemporary art with critical interpretations of individual works and exhibitions by Luis Camnitzer, Marcel Duchamp, Matias Faldbakken, Anne Imhof and Cady Noland. The book moves from philosophical issues, via the lingering shadows of medium-specificity (in photography and art music), and the changing states of museums, to analyses of the peculiar ways that works of art relate to time.To give artistic form to crisis, it is suggested, one needs to understand contemporary art's own constitutive crisis of form.

Histories of Performance Documentation traces the many ways in which museums have approached performance works from the 1960s onwards, considering the unique challenges of documenting live events. From hybrid and interactive arts, to games and virtual and mixed reality performance, this collection investigates the burgeoning role of the performative in museum displays. Gabriella Giannachi and Jonah Westerman bring together interviews and essays by leading curators, conservators, artists and scholars from institutions including MoMA, Tate, SFMOMA and the Whitney, to examine a range of interdisciplinary practices that have influenced the field of performance documentation. Chapters build on recent approaches to performance analysis, which argue that it should not focus purely on the live event, and that documentation should not be read solely as a process of retrospection. These ideas create a radical new framework for thinking about the relationship between performance and its documentation-and how this relationship might shape ideas of what constitutes performance in the first place.

Jack Milroy: Cut Outs is the first substantial publication on the work of the prolific British artist Jack Milroy who has been active for over 50 years. The book explores Milroy's extensive artistic career, highlighting his repurposing of materials-from illustrated books and posters, to maps and packaging-as a means for creating expansive, yet intricate, artworks.Whilst often playful and humorous in nature, the works are often attentive of and make reference to monumental events and narratives, ranging from 9/11 to The Garden of Eden. Traces of Surrealism and the fantastical are also present within Milroy's creations, as well as references to modern technology, Pop art and the natural environment, all executed with impeccable skill and detail.Accompanying Milroy's works is an essay by William Packer, the former Financial Times Art Critic. Packer has written about the artist's work for many years and has an astute understanding of the work, exemplified in this new, specially commissioned text.