This book tells, for the first time, the story of the Situationist International's influence and afterlives in Britain, where its radical ideas have been rapturously welcomed and fiercely resisted. The Situationist International presented itself as the culmination of the twentieth century avant-garde tradition - as the true successor of Dada and Surrealism. Its grand ambition was not unfounded. Though it dissolved in 1972, generations of artists and writers, theorists and provocateurs, punks and psychogeographers have continued its effort to confront and contest the 'society of the spectacle.' This book constructs a long cultural history, beginning in the interwar period with the arrival of Surrealism to Britain, moving through the countercultures of the 1950s and 1960s, and finally surveying the directions in which Situationist theory and practice are being taken today. It combines agile historicism with close readings of a vast range of archival and newly excavated materials, including newspaper reports, underground pamphlets, Psychogeographical films, and experimental novels. It brings to light an overlooked but ferociously productive period of British avant-garde practice, and demonstrates how this subterranean activity helps us to understand postwar culture, late modernism, and the complex internationalization of the avant-garde. As popular and academic interest in the Situationists grows, this book offers an important contribution to the international history of the avant-garde and Surrealism. It will prove a valuable resource for researchers and students of English and Comparative Literature, Modernism and the Avant-Gardes, Twentieth Century and Contemporary History, Cultural Studies, Art History, and Political Aesthetics.

This book makes a significant contribution to recent scholarship on the ways in which women responded to the regulation of their behavior by focusing on representations of women speakers and their audiences in moments Smith identifies as "scenes of speech." This new approach, examining speech exchanges between a speaker and audience in which both anticipate, interact with, and respond to each other and each other's expectations, demonstrates that the prescriptive process involves a dynamic exchange in which each side plays a role in establishing and contesting the boundaries of acceptable speech for women. Drawing from a wide range of evidence, including pamphlets, diaries, illustrations, and plays, the book interprets the various and at times contradictory representations and reception of women's speech that circulated in early modern England. Speech scenes examined within include wives' speech to their husbands in private, private speech between women, public speech before death, and the speech of witches. Looking at scenes of women's speech from male and female authors, Smith argues that these early modern texts illustrate a means through which societal regulations were negotiated and modified. This book will appeal to those with an interest in early modern drama, including the playwrights Shakespeare, Cary, Webster, Fletcher, and Middleton, as well as readers of non-dramatic early modern literary texts. The volume is of particular use for scholars working in the areas of early modern literature and culture, women's history, gender studies, and performance studies.

With the aim to help teachers design and deliver instruction around world films featuring child protagonists, Cultivating Creativity through World Films guides readers to understand the importance of fostering creativity in the lives of youth. It is expected that by teaching students about world films through the eyes of characters that resemble them, they will gain insight into cultures that might be otherwise unknown to them and learn to analyze what they see. Teachers can use these films to examine and reflect on differences and commonalities rooted in culture, social class, gender, language, religion, etc., through guided questions for class discussion. The framework of this book is conceived to help teachers develop students' ability to evaluate, analyze, synthesize and interpret. The proposed activities seek to incite reflection and creativity in students, and can be used as a model for teachers in designing future lessons on other films.

The Elements of Theatrical Expression puts forward 14 essential elements that make up the basic building blocks of theatre. Is theatre a language? Does it have its own unique grammar? And if so, just what would the elements of such a grammar be? Brian Kulick asks readers to think of these elements as the rungs of a ladder, scaling one after the other to arrive at an aerial view of the theatrical landscape. From such a vantage point, one can begin to discern a line of development from the ancient Greeks, through Shakespeare and Chekhov, to a host of our own contemporary authors. He demonstrates how these elements may be transhistorical but are far from static, marking out a rich and dynamic theatrical language for a new generation of theatre makers to draw upon. Suitable for directors, actors, writers, dramaturges, and all audiences who yearn for a deeper understanding of theatre, The Elements of Theatrical Expression equips its readers with the knowledge that they need to see and hear theatre in new and more daring ways.

Unruly Audiences and the Theater of Control in Early Modern London explores the effects of audience riots on the dramaturgy of early modern playwrights, arguing that playwrights from Marlowe to Brome often used their plays to control the physical reactions of their audience. This study analyses how, out of anxiety that unruly audiences would destroy the nascent industry of professional drama in England, playwrights sought to limit the effect that their plays could have on the audience. They tried to construct playgoing through their drama in the hopes of creating a less-reactive, more pensive, and controlled playgoer. The result was the radical experimentation in dramaturgy that, in part, defines Renaissance drama. Written for scholars of Early Modern and Renaissance Drama and Theatre, Theatre History, and Early Modern and Renaissance History, this book calls for a new focus on the local economic concerns of the theatre companies as a way to understand the motivation behind the drama of early modern London.

A History of Romanian Theatre from Communism to Capitalism analyses the last three decades of Romanian theatre and connects it to the international stage. Cristina Modreanu questions the relationship between artists and power, both before 1989, behind the Iron Curtain, and in the current global political context, with nationalism manifesting itself in Eastern Europe, as seen in the critical work of Romanian theatre makers. This study covers the complex cases of theatre makers such as Lucian Pintilie, Liviu Ciulei and Andrei Serban, who built their international careers in exile, and the most innovative Romanian artists of today, such as Silviu Purcarete, Mihai Maniutiu, Gianina Carbunariu, Radu Afrim, and Bogdan Georgescu, who reached the status of transglobal artists. Filling a considerable gap in Romanian theatre discourse, this book will be of a great interest to students and scholars of contemporary theatre and history.

In this volume, Soe Marlar Lwin proposes a contextualized multimodal framework that brings together storytelling practitioners' and academic researchers' conceptions of storytelling. It aims to highlight the ways in which various institutions in contemporary society have been using live storytelling performances as an effective communicative, educative and meaning-making tool. Drawing on theories of narrative from narratology as well as from related fields such as discourse analysis, multimodal analysis, communication and performance studies, the author proposes a contextualized multimodal framework to (a) uncover the potential narrativity of a live storytelling performance through an analysis of narrative elements constituting the story, (b) capture the process of developing actual narrativity through a multimodal analysis of performance features in the storytelling discourse, and (c) highlight the importance of context and dynamics between the storyteller and audience for an achievement of optimal narrativity in a particular storytelling event. The sample analysis shows how the framework not only describes the system governing institutionalized storytelling performances in general but also serves as a useful model to examine individual performance as a unique realization of the general system. The book also offers implications for possible applications of such contextualized multimodal frameworks more broadly across the disciplines.

The talent behind Radiohead's iconic artwork reveals in his own words and for the first time the creative process that has driven his career and earned him a cult reputation. A restless and prolific figure, Stanley Donwood is widely regarded as one of the most important visual artists of his generation. His influential work for Radiohead spans many practices and ever-evolving aesthetics over a 23-year period, from music packaging to installations to print-making. Here, for the very first time, he reveals his personal notebooks, photographs, sketches and abandoned routes to iconic Radiohead artworks. Arranged chronologically, chapters are each dedicated to a major work - be it an album cover, promotional piece or a personal project - presented as a step-by-step working case study, from speculative ideas and sketches right through to Photoshop experiments and the finished piece. Accompanying narratives by Donwood explain the inspirations and stories behind his creative process and what it is like to work with the band, told with his typical razor-sharp humour and generosity of spirit. Featuring a treasury of archive material, this is the first deep dive into Donwood's creative practice and the artistic freedom afforded to him by working for a major music act. There Will Be No Quiet is essential reading, and viewing, for fans of the band and anyone interested in the explosive mix of artistic accident, musical ingenuity and creative originality.

This volume explores connections between architecture and theatre, and encourages imagination in the design of buildings and social spaces. Imagination is arguably the architect's most crucial capacity, underpinning memory, invention and compassion. No simple power of the mind, architectural imagination is deeply embodied, social and situational. Its performative potential and holistic scope may be best understood through the model of theatre. Theatres of Architectural Imagination examines the fertile relationship between theatre and architecture with essays, interviews and entr'actes arranged in three sections: Bodies, Settings and (Inter)Actions. Contributions explore a global spectrum of examples and contexts, from ancient Rome and Renaissance Italy to modern Europe, North America, India and Japan. Topics include: the central role of the human body in design; the city as a place of political drama, protest and phenomenal play; and world-making through language, gesture and myth. Chapters also consider sacred and magical functions of theatre in Balinese and Persian settings; eccentric experiments at the Bauhaus and 1970 Osaka World Expo; and ecological action and collective healing amid contemporary climate chaos. Inspired by architect and educator Marco Frascari, the book performs as a Janus-like memory theatre, recalling and projecting the architect's perennial task of reimagining a more meaningful world. This collection will delight and provoke thinkers and makers in theatrical arts and built environment disciplines, especially Architecture, Landscape and Urban Design.

Aus der Kunst kommend und notgedrungen zum Forscher geworden, hob der vielseitig schaffende Oswald Wiener (1935—2021) in seiner Denkpsychologie hervor: „Eine Synthese von Selbstbeobachtung und Automatentheorie strebe ich nicht an. Es geht vielmehr um eine Gegenüberstellung: Was an den in der Selbstbeobachtung aufgefaßten Zusammenhängen läßt sich auf einigermaßen befriedigende Weise als eine Realisierung von Zusammenhängen innerhalb eines formalen Systems, z. B. des formalen Systems Automatentheorie auffassen. Oder umgekehrt: Wie gut erfaßt das Modell Automatentheorie (Computer-Metapher, ,Physical Symbol System', künstliche Intelligenz auf dem heutigen Stand ...) wesentliche Züge des menschlichen Denkens? Was würde hier als eine ,einigermaßen befriedigende Weise' gelten? Wie sehr und was abstrahiert das formale System?“ 　 Drei Gespräche mit Wiener über die historische Theorieentwicklung und vier Essays in diesem Buch sollen diesen neuen und bislang zu wenig im akademischen Diskurs beachteten Ansatz der Denktheorie ein- und fortführen. Angelpunkt der Überlegungen ist Wieners letzter großer Aufsatz „Kybernetik und Gespenster“.

After the Long Silence offers a ground-breaking, meticulously researched criticism of Brazilian contemporary performance created by its post-dictatorship generation, whose work expresses the consequences of decades of state-imposed censorship. By offering an in-depth examination of key artists and their works, Claudia Tatinge Nascimento highlights Brazil's political trajectory while never allowing the weight of historical events to offset key aesthetic trends. Brazilian theater artists born around the time of the nation's 1964 military coup experienced the oppressive rule of dictatorship throughout their formative years, but came of age as Brazil re-entered democracy some two decades later. This book showcases how the post-dictatorship generation developed performances that mapped the uncharted territories of Brazil's political trauma with new dramaturgies, site-specific and street productions, and aesthetic experimentation. The author's in-depth research into a wide array of archival materials and publications in both Portuguese and English demonstrates how the artistic practices of significant post-dictatorship artists such as Cia. dos Atores, Teatro da Vertigem, Grupo Galpao, Os Fofos Encenam, and Newton Moreno were driven by critical thinking and a postcolonial sentiment, proving symptomatic of the nation's shift from an ethos of half-truth telling into a transitional justice that fell short in affirming citizenship. Ideal for scholars of the intersection of theatre and politics, After the Long Silence: The Theater of Brazil's Post-Dictatorship Generation offers insight into the function of theater in times of political turmoil and artmaking practices that emerge in response to oppressive regimes.

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.

The official art book for the animated movie Luck. The Art and Making of Luck showcases, in beautifully illustrated detail, the concept art behind the story of the unluckiest girl in the world: Sam Greenfield. When Sam stumbles into the never-before-seen world of good and bad luck, she sets out on a quest to find good luck for her best friend Hazel, so that she can find a forever family. Journey with Sam as she follows a lucky penny into the Land of Luck, and meets magical creatures including Bob, a lucky black cat, and The Dragon, the CEO of the Land of Good Luck. From Skydance Animation and Apple Original Films, Luck is a charming animated comedy for both adults and kids alike. Any animation buff would be lucky to have this coffee table hardback that explodes with creativity; filled with intricate sketches, vivid concept designs, storyboards, production art, and rendered 3D models for the animated film, alongside insight from the artists, filmmakers and director into the original fictional world of Luck.

The private collector's museum has become a phenomenon of the 21st century. There are some 400 of them around the world, and an astonishing 70% of those devoted to contemporary art were founded in the past 20 years. Although private museums have been accused of being tax-evading vanity projects or 'tombs for trophies', the picture is far more complex and nuanced, as art-market journalist Georgina Adam (author of best-selling Big Bucks and Dark Side of the Boom) shows in her compelling new book. Georgina Adam's investigation into this extraordinary proliferation, based on her recent visits to over 50 private spaces across the US, Europe, China and elsewhere, delves into the reasons behind this boom, the different motivations of collectors to display their art in public, and the various ways in which the institutions are financed. Private museums can add greatly to the cultural life of a community, giving a platform to emerging artists, supplying educational programmes and revitalising declining or neglected regions. But their relationship with public institutions can also be problematic. Should private museums step in to fill a gap left by declining public investment in culture, and what are the implications for society and the arts? At a time of crisis in the museums sector, this book is an essential and thought-provoking read.

This volume collects twenty original essays on the philosophy of film. It uniquely brings together scholars working across a range of philosophical traditions and academic disciplines to broaden and advance debates on film and philosophy. The book includes contributions from a number of prominent philosophers of film including Noel Carroll, Chris Falzon, Deborah Knight, Paisley Livingston, Robert Sinnerbrink, Malcolm Turvey, and Thomas Wartenberg. While the topics explored by the contributors are diverse, there are a number of thematic threads that connect them. Overall, the book seeks to bridge analytic and continental approaches to philosophy of film in fruitful ways. Moving to the individual essays, the first two sections offer novel takes on the philosophical value and the nature of film. The next section focuses on the film-as-philosophy debate. Section IV covers cinematic experience, while Section V includes interpretations of individual films that touch on questions of artificial intelligence, race and film, and cinema's biopolitical potential. Finally, the last section proposes new avenues for future research on the moving image beyond film. This book will appeal to a broad range of scholars working in film studies, theory, and philosophy.

Barbara Earl Thomas's new body of work carries within it the sediments of history and grapples with race and the color line. At the heart of it lies a story of life and death, hope and resilience-a child's survival. With her quietly glowing portraits of young Black boys and girls, Thomas puts before us the humble question: can we see, and be present to, the humanity, the trust, the hopes and dreams of each of these children? The Geography of Innocence offers a reexamination of Black portraiture and the preconceived dichotomies of innocence and guilt and sin and redemption, and the ways in which these notions are assigned and distorted along cultural and racial lines. Two interconnected visual arguments unfold: a portrait gallery of children from the artist's extended community and an illuminated environment that appears like a delicate paper lantern. To accompany the visual elements, the book's essays examine Thomas's work in the context of different art historical portraiture traditions and political relevance. Thomas also contributes an interview and an essay reflecting on the current climate in which the work exists.

Can fine art survive in an age of mass media? If so, in what forms and to what purpose? And can radical art still play a critical role in today's divided world? These are the questions addressed in the Art in the Age of Mass Media, as John Walker examines the fascinating relationship between art and mass media, and the myriad interactions between

Drama in Medieval and Early Modern Europe moves away from the customary conceptual framework that artificially separates 'medieval' from 'early modern' drama to explore the role of drama and spectacle in England, France, the Low Countries, Spain, Italy, Switzerland, and the German-speaking areas that now constitute Austria and Germany. This book investigates the ranges of dramatic and performative techniques and strategies that playmakers across Europe used to adapt their work to the changing contexts in which they performed, and to the changing or expanding audiences that they faced. It considers the different views expressed through drama and spectacle on shared historical events, how communities coped with similar issues and why they ritually recycled these themes through reinvented or alternative forms that replaced or existed alongside their predecessors. A wide variety of genres of play are discussed throughout, including visitatio sepulchri (visit to the tomb) plays; Easter and Passion plays and morality plays; the French civic mystere; Italian sacre rappresentazioni performed by choirboys in the context of the church; Burgertheater from the Swiss Confederacy; drama performed for the purpose of royal entertainment and propaganda; May and summer games; and the commercial, professional theatre of Shakespeare and Lope de Vega. Examining the strength of drama in relation to the larger cultural forces to which it adapted, and demonstrating the use of social, political, economic, and artistic networks to educate and support the social structures of communities, Drama in Medieval and Early Modern Europe offers a broader understanding of a shared European past across the traditional chronological divide of 1500. It is ideal for students of social history, and the history of medieval and early modern drama or literature.

Having met the elusive Maggi Hambling, This book is pure Maggi at her best.The book details the first ideas for the scallop to its placing on Aldeburgh beach .The book also tells us how Maggi became an artist. Anyone from Suffolk will relate to Maggi's work.First published in hardback 2010.

Drama in Medieval and Early Modern Europe moves away from the customary conceptual framework that artificially separates 'medieval' from 'early modern' drama to explore the role of drama and spectacle in England, France, the Low Countries, Spain, Italy, Switzerland, and the German-speaking areas that now constitute Austria and Germany. This book investigates the ranges of dramatic and performative techniques and strategies that playmakers across Europe used to adapt their work to the changing contexts in which they performed, and to the changing or expanding audiences that they faced. It considers the different views expressed through drama and spectacle on shared historical events, how communities coped with similar issues and why they ritually recycled these themes through reinvented or alternative forms that replaced or existed alongside their predecessors. A wide variety of genres of play are discussed throughout, including visitatio sepulchri (visit to the tomb) plays; Easter and Passion plays and morality plays; the French civic mystere; Italian sacre rappresentazioni performed by choirboys in the context of the church; Burgertheater from the Swiss Confederacy; drama performed for the purpose of royal entertainment and propaganda; May and summer games; and the commercial, professional theatre of Shakespeare and Lope de Vega. Examining the strength of drama in relation to the larger cultural forces to which it adapted, and demonstrating the use of social, political, economic, and artistic networks to educate and support the social structures of communities, Drama in Medieval and Early Modern Europe offers a broader understanding of a shared European past across the traditional chronological divide of 1500. It is ideal for students of social history, and the history of medieval and early modern drama or literature.