Time and Performer Training addresses the importance and centrality of time and temporality to the practices, processes and conceptual thinking of performer training. Notions of time are embedded in almost every aspect of performer training, and so contributors to this book look at: age/aging and children in the training context how training impacts over a lifetime the duration of training and the impact of training regimes over time concepts of timing and the 'right' time how time is viewed from a range of international training perspectives collectives, ensembles and fashions in training, their decay or endurance. Through focusing on time and the temporal in performer training, this book offers innovative ways of integrating research into studio practices. It also steps out beyond the more traditional places of training to open up time in relation to contested training practices that take place online, in festival spaces and in folk or amateur practices. Ideal for both instructors and students, each section of this well-illustrated book follows a thematic structure and includes full-length chapters alongside shorter provocations. Featuring contributions from an international range of authors who draw on their backgrounds as artists, scholars and teachers, Time and Performer Training is a major step in our understanding of how time affects the preparation for performance.

Separate education for American women in the arts began in the mid-19th century as an innovative vehicle for middle-class women to move into a new and genteel profession. The 20th century evolution of the Philadelphia School of Design for Women, lone survivor as an autonomous school of many similar institutions founded at the same time, presents an unusually well-documented case study of meeting the changing needs of women students.

The first American institutions devoted to women's professional art education, design schools appeared in industrial northeastern cities in the 1850s, modeled on Philadelphia's pioneering School of Design for Women, which opened in 1848. Sponsored by business leaders and philanthropists, design schools gave women unprecedented access to craft skills, and eventually helped professionalize the work of women as art teachers and practicing artists. Separate education in the arts constituted an innovative vehicle for expanding Victorian-era middle-class gender prescriptions into new professional opportunities. Through the 20th century, the Philadelphia School of Design and its successor, Moore College of Art, survived as the nation's only autonomous women's art college, offering new educational options for women.

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.

Immerse yourself in the world of Denis Villeneuve's Dune and discover the incredible creative journey that brought Frank Herbert's iconic novel to the big screen. Frank Herbert's science fiction classic Dune has been brought to life like never before in the breathtaking film adaptation from acclaimed director Denis Villeneuve (Blade Runner 2049, Arrival). Now fans can be part of this creative journey with The Art and Soul of Dune, the official companion to the hugely anticipated movie event. Written by Dune executive producer Tanya Lapointe, this visually dazzling exploration of the filmmaking process gives unparalleled insight into the project's genesis--from its striking environmental and creature designs to its intricate costume concepts and landmark digital effects. The Art and Soul of Dune also features exclusive interviews with key members of the cast and crew, including Denis Villeneuve, Timothee Chalamet, Rebecca Ferguson, Oscar Isaac, and many more, delivering a uniquely candid account of the hugely ambitious international shoot. Showcasing Villeneuve's visionary approach to realizing Herbert's science fiction classic, The Art and Soul of Dune is an essential companion to the director's latest masterpiece.

The prolific theatrical activity that abounded on the stages of early modern Europe demonstrates that drama was a genre that transcended national borders. The transnational character of early modern theater reflects the rich admixture of various dramatic traditions, such as Spain's comedia and Italy's commedia dell'arte, but also the transformations across cultures of Spanish novellas to French plays and English interludes. Of particular import to this study is the role that women and gender played in this cross-pollination of theatrical sources and practices. Contributors to the volume not only investigate the gendered effect of Spanish texts and literary types on English and French drama, they address the actual journeys of Spanish actresses to French theaters and of Italian actresses to the Spanish stage, while several emphasize the movement of royal women to various courts and their impact on theatrical activity in Spain and abroad. In their innovative focus on women's participation and influence, the chapters in this volume illustrate the frequent yet little studied transnational and transcultural points of contact between Spanish theater and the national theaters of England, France, Austria, and Italy.

LAND ART: A COMPLETE GUIDE TO LANDSCAPE, ENVIRONMENTAL, EARTHWORKS, NATURE, SCULPTURE AND INSTALLATION ART

A fully illustrated guide to land and environmental art. A newly updated and revised edition of our best-selling book.

For the land artist, the whole planet is an artist's studio. The land artist ranges over the whole globe. A desert, a beach, a field, a forest becomes a studio, a place of creative activity. This means the very texture and colour and shape and dampness and springiness and strength and size of moss, for instance. Or a stone. Or a crevice in a rock formation. The way the light falls on a patch of grass, the little bits of dead, yellowish grass on top of the newer, green grass. Pine cones, closed-up. Flowers turning sunward in the late afternoon. These are the things land artists deal with in making art. These are the actualities that artists employ when they create artworks.

This book explores all of the major land, environmental and earthwork artists of the past 40 years, including James Turrell and his vast volcano site Hans Haacke's Conceptual art Michael Heizer's Mid-West earthworks Robert Smithson and his giant spiral, entropic earthworks Christo's wrapped buildings and islands, Robert Morris's environments Walter de Maria's Romantic Lightning Field David Nash's stoves, stones, trees and North Wales environments Hamish Fulton's walks and words Dennis Oppenheim's concentric snow circles Richard Long and his art of walking Andy Goldsworthy's natural, spontaneous, eco-friendly sculptures Alice Aycock's mysterious underground mazes Mary Miss's sunken pools and pavilions Wolfgang Laib's delicate, luminous pollen spreads Nancy Holt and her observation sculptures and the enigmatic floor sculptures of Carl Andre.

William Malpas has written books on Richard Long and land art, as well as three books on Andy Goldsworthy, including the forthcoming Andy Goldsworthy In America. Malpas's books on Richard Long and Andy Goldsworthy are the only full-length studies of these artists available.

Includes new illustrations, bibliography, notes. 380 pages. ISBN 9781861714008. www.crmoon.com

Incapacity and Theatricality acknowledges the distinctive contribution to contemporary theatrical performance made by actors with intellectual disabilities. It presents a close examination of certain key theatrical performances across a variety of different media, including John Cassavetes' 1963 social issues film A Child Is Waiting; the performance art collaboration between Robert Wilson and Christopher Knowles; and the provocative pranksterism of Christoph Schlingensief's talent show mockumentary FreakStars 3000. Tracing a global path of performances, Incapacity and Theatricality offers an analysis of how actors with intellectual disabilities have emerged onto the main stage, and how their inclusion calls into question long-held assumptions about both theatre and intellectual disability. For postgraduate students, or anyone interested in the shifting dynamics of twenty-first century theatre, McCaffrey's work offers a vital consideration of the intersubjective relations between people with and without intellectual disabilities and ultimately addresses urgent questions about the situation and representation of the contemporary subject caught up somewhere between incapacity and theatricality.

Artists especially from dance and performance art as well as opera are involved to an increasing degree in the transfer between different media, not only in their productions but also the events, materials, and documents that surround them. At the same time, the focus on that which remains has become central to any discussion of performance. Performing Arts in Transition explores what takes place in the moments of transition from one medium to another, and from the live performance to that which "survives" it. Case studies from a broad range of interdisciplinary scholars address phenomena such as: The dynamics of transfer between the performing and visual arts. The philosophy and terminologies of transitioning between media. Narratives and counternarratives in historical re-creations. The status of chronology and the document in art scholarship. This is an essential contribution to a vibrant, multidisciplinary and international field of research emerging at the intersections of performance, visual arts, and media studies.

Arts Programming for the Anthropocene argues for a role for the arts as an engaged, professional practice in contemporary culture, charting the evolution of arts over the previous half century from a primarily solitary practice involved with its own internal dialogue to one actively seeking a larger discourse. The chapters investigate the origin and evolution of five academic field programs on three continents, mapping developments in field pedagogy in the arts over the past twenty years. Drawing upon the collective experience of artists and academicians in the United States, Australia, and Greece operating in a wide range of social and environmental contexts, it makes the case for the necessity of an update to ensure the real world relevance and applicability of tertiary arts education. Based on thirty years of experimentation in arts pedagogy, including the creation of the Land Arts of the American West (LAAW) program and Art and Ecology discipline at the University of New Mexico, this book is written for arts practitioners, aspiring artists, art educators, and those interested in how the arts can contribute to strengthening cultural resiliency in the face of rapid environmental change.

Modernism and the Museum proposes an entirely new way of looking at the evolution of Modernist art and literature in the West. It shows that existing surveys of Modernism tend to treat the early stages of the movement as a purely European phenomenon, and fail to take account of the powerful and direct influence of Asia, Africa, and the Pacific islands operating via museums and exhibitions, particularly in London. The book presents the poet Ezra Pound and the sculptor Jacob Epstein as two seminal figures whose development of a Modernist aesthetic depended almost entirely on innovations adapted from extra-European visual art, and makes similar revelations about the work of related figures such as Henri Gaudier-Brzeska, Eric Gill, T.E. Hulme, Laurence Binyon, Richard Aldington, Amy Lowell, Charles Holden, William Rothenstein, Ford Madox Ford, James Gould Fletcher, James Havard Thomas, W.B. Yeats, and D.H. Lawrence. The writing is engaging, but the scholarship is rigorous, and a large quantity of previously unpublished evidence is made available from the British Museum, the Victoria and Albert Museum, the Royal Institute of British architects, the Tate Gallery, and several private collections. The book positions the museums of London - and especially the British Museum - as the West's most significant hub of transcultural aesthetic exchange during the early Twentieth century. It essentially proposes that, far from representing a development rooted in provincial European culture, Modernism was in fact the result of an unprecedented willingness in the avant-garde of the West to engage with the rest of the world.

What were Montmartre and Montparnasse really like in their hey-day, roughly between 1904, when the youthful Picasso had just arrived on the Hill of Martyrs, and 1920, when Amedeo Modigliani, justly called `the prince of Bohemians', died of consumption and dissipation in Montparnasse? This book, written by an Englishman who lived in Montmartre for 30 years and knew its famous habitue intimately, gives a vivid description. It reveals the truth behind the many legends, is packed with authentic stories about writers and painters whose name are now household words, and contains much hitherto unpublished information about the life and career of Modigliani obtained from his family and friends. Much of the text was written in Montmartre amid the scenes described, and after personal consultation with survivors of the great days when Frede presided over the Lapin Agile and Libion, patron of the Cafe de la Rotonde, was beginning to rival him in Montparnasse. It is the most complete account which has yet been written in English of the birth of Cubism and other contemporary movements in modern painting, and of the lives and loves who started them.

In setting foot on stage, every performer risks the possiblity of failure. Indeed, the very performance of any human action is inextricable from its potential not to succeed. This inherent potential has become a key critical trope in contemporary theatre, performance studies, and scholarship around visual cultures. Beyond Failure explores what it means for our understanding not just of theatrical practice but of human social and cultural activity more broadly. The essays in this volume tackle contemporary debates around the theory and poetics of failure, suggesting that in the absence of success can be found a defiance and hopefulness that points to new ways of knowing and being in the world. Beyond Failure offers a unique and engaging approach for students and practitioners interested not only in the impact of failure on the stage, but what it means for wider social and cultural debates.

Ashley Longshore now turns her eye toward badass women throughout history with Roar! A Collection of Mighty Women. Longshore s pop art paintings are never shy of daring; her art makes noise, and her singular portraits of legendary stateswomen, artists, and notable women from all walks of life include Marie Curie, Maya Angelou, Mother Teresa, Peggy Guggenheim, First Lady Michelle Obama, Greta Thunberg, Queen Elizabeth II, Cleopatra, Rosa Parks, Frida Kahlo, Josephine Baker, Amanda Gorman, and even Lynda Carter as Wonder Woman! Many of these striking and vibrant portraits were previously exhibited at Diane von Furstenberg s flagship store in New York. Accompanied by descriptions about what makes these women such significant and meaningful icons, Roar! is sure to be the perfect gift for women of all ages.

In the 1920s and 1930s, anthropology and ethnography provided new and striking ways of rethinking what art could be and the forms which it could take. This book examines the impact of these emergent disciplines on the artistic avant-garde in Paris. The reception by European artists of objects arriving from colonial territories in the first half of the twentieth century is generally understood through the artistic appropriation of the forms of African or Oceanic sculpture. The author reveals how anthropological approaches to this intriguing material began to affect the ways in which artists, theorists, critics and curators thought about three-dimensional objects and their changing status as 'art', 'artefacts' or 'ethnographic evidence'. This book analyses texts, photographs and art works that cross disciplinary boundaries, through case studies including the Dakar to Djibouti expedition of 1931-33, the Trocadero Ethnographic Museum, and the two art periodicals Documents and Minotaure. Through its interdisciplinary and contextual approach, it provides an important corrective to histories of modern art and the European avant-garde. -- .

This is the first book to explore the global influence of Maoism on modern and contemporary art. Featuring eighteen original essays written by established and emerging scholars from around the world, and illustrated with fascinating images not widely known in the west, the volume demonstrates the significance of visuality in understanding the protean nature of this powerful worldwide revolutionary movement. Contributions address regions as diverse as Singapore, Madrid, Lima and Maputo, moving beyond stereotypes and misconceptions of Mao Zedong Thought's influence on art to deliver a survey of the social and political contexts of this international phenomenon. At the same time, the book attends to the the similarities and differences between each case study. It demonstrates that the chameleonic appearances of global Maoism deserve a more prominent place in the art history of both the twentieth and twenty-first centuries. -- .

Today the media arts not only address the great themes of our times, they inhabit the very media of which they speak. The contemporary is global, but only because of the media that enable globalisation. Those media are almost nowhere apparent in the mainstream practice of art that we see in biennials from Venice to Sao Paolo. The media arts reflect back to us our present condition, and in the archive present us with the ghosts of what we were, and what we failed to become. This book brings the reader into the centre of these strange encounters, introducing us to the rich legacies and futures of the most important arts of the last hundred years. It also looks ahead to the future and asks what happens to the condition of being human within the new constellation into which we are entering?

Tadeusz Kantor - a theoretician, director, innovator and painter famed for his very visual theatre style - was a key figure in European avant-garde theatre. He was also known for his challenging theatrical innovations, such as extending stages and the combination of mannequins with living actors. The book combines: a detailed study of the historical context of Kantor's work an exploration of Kantor's own writings on his theatrical craft a stylistic analysis of the key works, including The Dead Class and Let the Artists Die, and their critical reception an examination of the practical exercises devised by Kantor. As a first step towards critical understanding, and as an initial exploration before going on to further, primary research, Routledge Performance Practitioners offer unbeatable value for today's student.

The Routledge Companion to Expressionism in a Transnational Context is a challenging exploration of the transnational formation, dissemination, and transformation of expressionism outside of the German-speaking world, in regions such as Central and Eastern Europe, the Baltics and Scandinavia, Western and Southern Europe, North and Latin America, and South Africa, in the first half of the twentieth century. Comprising a series of essays by an international group of scholars in the fields of art history and literary and cultural studies, the volume addresses the intellectual discussions and artistic developments arising in the context of the expressionist movement in the various art centers and cultural regions. The authors also examine the implications of expressionism in artistic practice and its influence on modern and contemporary cultural production. Essential for an in-depth understanding and discussion of expressionism, this volume opens up new perspectives on developments in the visual arts of this period and challenges the traditional narratives that have predominantly focused on artistic styles and national movements.

Collage and Literature analyzes how and why the history of literature and art changed irrevocably beginning in the early years of the twentieth century, and what that change has meant for late modernism and postmodernism. Starting from Pablo Picasso's 1912 gesture, breaking the fundamental logic of representation, of pasting a piece of oilcloth onto a canvas, and moving up to Kenneth Goldsmith's 2015 reading of an autopsy report of an unarmed young black man shot by police (which he framed as a poem entitled Michael Brown's Body) this volume moves through a series of case studies encapsulating issues of juxtaposition and framing, the central ways identify collage. Its thesis is that collage-and, in fact, only collage-meaningfully overcomes formal and generic boundaries between the literary and the non-literary. The overwriting of these traditional boundaries happens in the service of collage's anti-narrative drive, a drive that may be, in turn, interruptive or destructive. The expansion of collage's horizons- broadly, to include the use of radical juxtaposition in the arts-reveals a surprisingly wide range of American artists and writers using the logic of juxtaposition as they imagine new worlds, disrupt accepted narratives about society and art, and create meaning through form as much as through paraphrasable content. In addressing a wide range of contested issues, recent artists realize the shocking force of collage. By recovering this shock, Collage and Literature restores collage to its multimedia origins in order to reveal its powerful and political affects.

Although Max Liebermann (1847-1935) began his career as a realist painter depicting scenes of rural labor, Dutch village life, and the countryside, by the turn of the century, his paintings had evolved into colorful images of bourgeois life and leisure that critics associated with French impressionism. During a time of increasing German nationalism, his paintings and cultural politics sparked numerous aesthetic and political controversies. His eminent career and his reputation intersected with the dramatic and violent events of modern German history from the Empire to the Third Reich. The Nazis' persecution of modern and Jewish artists led to the obliteration of Liebermann from the narratives of modern art, but this volume contributes to the recent wave of scholarly literature that works to recover his role and his oeuvre from an international perspective.

In 'Coalescing Geometries' the painter expresses a creative response to her environment and an inner sense of the essence of nature's growth force. The designs intricacy with its prismatic color sensibility springs from a love of nature and its patterns. The ethereal and kinetic sensations reflected in 'Coalescing Geometries' reflect the growth patterns found in living forms. These geometries we recognize and know from our sensorial experience of nature in our immediate environment. The geometries found in this monograph are associated with those seen in plant growth, flowers, waves, spirals in shells, pine cones and also in mineral structures such as crystals. While working with geometrical arrangements, she finds the "movement, universal beauty and symmetry inherent to structures stemming from laws of growth. A shared numerical pattern in nature that permeates the arrangement of parts amongst the whole can be seen in the leaves and branches of a tree or the petals of a flower.

This book focuses on avant-garde literature and art in Europe and America during the first quarter of the twentieth century. It examines five movements that shaped our response to the demands of the modern age and contributed to the creation of a modern sensibility: Cubism, Futurism, the Metaphysical School, Dada, and Surrealism. Each of these arose in response to recent scientific, technological, and/or philosophical developments that drastically affected modern civilization. In turn, each was responsible for a major paradigm shift that altered the way in which we view-and respond to--the world around us. The final chapter is comparative in nature and studies the role of the mannequin in literature and art during the same period.