Making Hip Hop Theatre is the essential, practical guide to making hip-hop theatre. It features detailed techniques and exercises that can guide creatives from workshops through to staging a performance. If you were inspired by Hamilton, Barber Shop Chronicles, Misty, Black Men Walking or Frankenstein: How to Make a Monster, this is the book for you. Covering vocal technique, use of equipment, mixing, looping, sampling, working with venues and dealing with creative challenges, this book is a bible for both new and experienced artists alike. Additionally, with links to online video material demonstrating and elaborating on the exercises included, it offers countless useful tools for teachers and facilitators of drama, music and other creative arts. Alongside this practical guidance is an overview of hip hop history, giving theoretical and historical context for the practice. From documentation of Conrad Murray’s major productions, to commentary from leading practitioners including Lakeisha Lynch-Stevens, David Jubb, Emma Rice, Tobi Kyeremateng and Paula Varjack, readers are treated to a detailed insight into the background of hip hop theatre. Edited by scholar Katie Beswick and genre pioneer Conrad Murray, Making Hip Hop Theatre is a vital teaching tool and provides a much-needed account of a burgeoning aspect of contemporary theatre culture.

Performance in the Museum charts the main stages of the inclusion of performance in the museum from the 1970s to the present day. While performance emerged in the late 1960s as an anti-institutional form of art, it has recently gained an extraordinary visibility in contemporary art museums. This book focuses on three specific areas affecting museums: how to display performance art; conservation of performance art; and acquisition. What emerges from this study is that the museum, although rarely anticipating the specific issues raised by performance, has assumed a unique position in devising curatorial strategies adapted to this medium. Through close analysis of a selection of exhibitions and curatorial practices from many different parts of the world, and from specific periods from the past fifty years, this book identifies key moments of the integration of performance in the museum, thus filling a crucial gap both in the history of performance and curatorial studies. Despite the recent surge of exhibitions on performance and the part played by museums in this phenomenon, the history of the display, the conservation and the acquisition of live performance remains largely uncharted. This book offers a thought-provoking and highly readable assessment of some fundamental questions in contemporary curatorial practice.

Encompassing experimental film and video, essay film, gallery-based installation art, and digital art, Jihoon Kim establishes the concept of hybrid moving images as an array of impure images shaped by the encounters and negotiations between different media, while also using it to explore various theoretical issues, such as stillness and movement, indexicality, abstraction, materiality, afterlives of the celluloid cinema, archive, memory, apparatus, and the concept of medium as such. Grounding its study in interdisciplinary framework of film studies, media studies, and contemporary art criticism, Between Film, Video, and the Digital offers a fresh insight on the post-media conditions of film and video under the pervasive influences of digital technologies, as well as on the crucial roles of media hybridity in the creative processes of giving birth to the emerging forms of the moving image. Incorporating in-depth readings of recent works by more than thirty artists and filmmakers, including Jim Campbell, Bill Viola, Sam Taylor-Johnson, David Claerbout, Fiona Tan, Takeshi Murata, Jennifer West, Ken Jacobs, Christoph Girardet and Matthias Muller, Hito Steyerl, Lynne Sachs, Harun Farocki, Doug Aitken, Douglas Gordon, Stan Douglas, Candice Breitz, among others, the book is the essential scholarly monograph for understanding how digital technologies simultaneously depend on and differ film previous time-based media, and how this juncture of similarities and differences signals a new regime of the art of the moving image.

In some post-industrial areas, re-designing structural interiors in an attractive way is becoming increasingly important to community members, as it helps promote local pride and a higher quality of life. Design Innovations for Contemporary Interiors and Civic Art examines novel techniques in structural designs in various cultural and social scenarios. Featuring innovative application methods, emergent trends, and research on tools being utilized in the field, this publication is a pivotal reference source for designers, researchers, practitioners, and professionals interested in interior design, urban culture, and structural aesthetics.

Louisiana Coushatta Basket Makers brings together oral histories, tribal records, archival materials, and archaeological evidence to explore the fascinating history of the Coushatta Tribe's famed basket weavers. After settling at their present location near the town of Elton, Louisiana, in the 1880s, the Coushatta (Koasati) tribe developed a basket industry that bolstered the local tribal economy and became the basis for generating tourism and political mobilization. The baskets represented a material culture that distinguished the Coushattas as Indigenous people within an ethnically and racially diverse region. Tribal leaders serving as diplomats also used baskets as strategic gifts as they built political and economic allegiances throughout the twentieth century, thereby securing the Coushattas' future. Behind all these efforts were the basket makers themselves. Although a few Coushatta men assisted in the production of baskets, it was mostly women who put in the long hours to gather and process the materials, then skillfully stitch them together to produce treasures of all shapes and sizes. The art of basket making exists within a broader framework of Coushatta traditional teachings and educational practices that have persisted to the present. As they tell the story of Coushatta basket makers, Linda P. Langley and Denise E. Bates provide a better understanding of the tribe's culture and values. The weavers' own ""language of baskets"" shapes this narrative, which depicts how the tribe survived repeated hardships as weavers responded on their own terms to market demands. The work of Coushatta basket makers represents the perseverance of traditional knowledge in the form of unique and carefully crafted fine art that continues to garner greater recognition and appreciation with every successive generation.

Exploring everything from company incorporation and marketing, to legal, finance and festivals, Starting a Theatre Company is the complete guide to running a low-to-no budget or student theatre company. Written by an experienced theatre practitioner and featuring on-the-ground advice, this book covers all aspects of starting a theatre company with limited resources, including how to become a company, finding talent, defining a style, roles and responsibilities, building an audience, marketing, the logistics of a production, legalities, funding, and productions at festivals and beyond. The book also includes a chapter on being a sustainable company, and how to create a mindset that will lead to positive artistic creation. Each chapter contains a list of further resources, key terms and helpful tasks designed to support the reader through all of the steps necessary to thrive as a new organisation. An eResource page contains links to a wide range of industry created templates, guidance and interviews, making it even easier for you to get up and running as simply as possible. Starting a Theatre Company targets Theatre and Performance students interested in building their own theatre companies. This book will also be invaluable to independent producers and theatre makers.

Very few carvers can carve animals and people with the same skill. Fewer still can convincingly carve realistic figures and caricatures. Tom Wolfe is one of them. Following his book on carving realistic horses, he now he brings the same talent to bear on caricature horses. As always, Tom takes the reader step-by-step through the carving process, with each step illustrated with a clear color photograph. From the blank to the finished painted figure, everything a carver must do is clearly explained. In addition to the standing horse project carved in the book, there are patterns for other projects, a seated horse, a rocking horse, and an Indian on horseback with a dog. A great book for carvers at all levels of expertise.

Explore the world of all three Total War: WARHAMMER games in this stunning compendium, packed with concept art, final designs, storyboards, and artist commentary. Total War: WARHAMMER is the award-winning PC strategy game trilogy from Creative Assembly. Set in the world of Warhammer Fantasy Battles, it combines grand campaigns of epic empire-building with battles of breathtaking scale, brimming with the warriors, wizards, and monsters that fans know and love. Delve into the rich lore of Games Workshop's world of Warhammer Fantasy Battles, as viewed through the Total War lens. Total War: WARHAMMER - The Art of the Games offers Creative Assembly's insights into the development of the series. Pore over concept sketches, texture studies, character art, and fully rendered paintings, accompanied by commentary from the artists themselves. Featuring artwork of iconic characters and scenes from parts I and II, as well as never-before-seen art from the trilogy's thundering grand finale, this coffee-table tome is an essential collector's item for any Warhammer or Total War fan.

The milestone 100th issue of Camera Obscura recognizes the work and legacy of Belgian filmmaker Chantal Akerman (1950–2015). Arguably the most important figure in feminist film culture, Akerman is central to Camera Obscura's own legacy, and her film Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles was covered in one of the first issues of the journal. The contributors to this special issue return to Akerman's work, illuminating her films, writings, and installations through new criticism and discussion. The issue includes a rich collection of newly published photographs, scholarly essays by leading Akerman scholars, a filmography and installation list, and rare interviews with Akerman's close collaborators. Contributors. Claire Atherton, Janet Bergstrom, Kelley Conway, Sandy Flitterman-Lewis, Ute Holl, Heike Klippel, Eva Kuhn, Matias Lavin, Alisa Lebow, Brenda Longfellow, Babette Mangolte, Ivone Margulies, Michael Mazière, Eva Meyer, Sandra Percival, Jane Stein, Cécile Tourneur, Maureen Turim, Sonia Wieder-Atherton, Patricia White

This book elucidates the technical aspects of improvised dance performance and reframes the notion of labour in the practice from one that is either based on compositionally formal logic or a mysterious impulse, to one that addresses the (in)corporeal dimensions of practice. Mobilising the languages and conceptual frameworks of theories of affect, embodied cognition, somatics, and dance, this book illustrates the work of specialist improvisers who occupy divergent positions within the complex field of improvised dance. It offers an alternative narrative of the history and current practice of Western improvised dance centred on the epistemology of its (in)corporeal knowledges, which are elusive yet vital to the refinement of expertise. Written for both a disciplinary-specific and interdisciplinary audience, this book will interest dance scholars, students, and practising artists.

This comprehensive international bibliography is the first to attempt documentation of this diverse field, covering the history of Artist's Performance. It focuses on its early twentieth-century antecedents in such movements as Futurism, Dada, Russian Constructivism, and the Bauhaus as well as its peak period in the 1950s, 1960s, and 1970s with such developments as Gutai, Fluxus, Viennese Actionism, Situationism, and Guerrilla Art Action. Major emphasis is also given to sources on 115 individual performance artists and groups. More than 3700 entries document print and media materials dating from 1914 to 1992. Organized for maximum accessibility, the sources are also extensively cross-referenced and are indexed by artist, subject, title, and author. Three appendices identify reference works, libraries, and archives, and addenda material not found in the book text, and two others list artists by country and by group or collective.

This book investigates the practices of reconstructing and representing performance art and their power to shape this art form and our understanding of it. Performance art emerged internationally between the 1960s and 1970s crossing disciplinary boundaries between performing arts and visual arts. Because of the challenge it posed to the ontologies and paradigms of these fields, performance art has since stimulated an ongoing debate on the most appropriate means to document, preserve and display it. Tancredi Gusman brings together international scholars from different disciplinary fields to examine methods, media, and approaches by which this art form has been represented and (re)activated over time and its transnational history reconstructed. Through contributions and case studies spanning various countries, regions and artistic fields, the authors outline an innovative theoretical-methodological framework for capturing the processes and strategies for transmitting the tangible and intangible heritage of performance art. This book will be of great appeal to students, researchers, and practitioners in the fields of Theatre and Performance Studies as well as Visual Arts and Art History, who have an interest in performance art, its history and presence in the contemporary artistic and cultural landscape.

With many of her subjects rendered in hyper realistic style, wearing a second skin of black paint or dark-florals, Laura Rubin’s art is unmistakeable. To tell the story behind her art, Laura begins the book by sharing her journey from art student to professional artist, providing encouragement for budding pros and enthusiasts alike. Laura also talks about what inspires her, with mythology and psychology being just two subjects that feed into her emotion-infused work. The reader is then invited behind the scenes to watch the artist at work in her studio, located in her hometown of Thun, Switzerland.  Laura’s portraiture sketchbook is opened to reveal simple drawings and recent studies made as the early stages of future paintings. Throughout these sections are artworks from past and present. In addition, there is brand new art by Laura, created exclusively for this book.  Finally, the reader is led through detailed, step-by-step tutorials demonstrating the artist’s workflow and the key fundamentals of portraiture (pose, light, and composition). From using reference models, and expert tips for working in Procreate, to sketching, coloring, and advancing the portrait from realism to hyperrealism, the process is explained from start to finish.

Exploring everything from company incorporation and marketing, to legal, finance and festivals, Starting a Theatre Company is the complete guide to running a low-to-no budget or student theatre company. Written by an experienced theatre practitioner and featuring on-the-ground advice, this book covers all aspects of starting a theatre company with limited resources, including how to become a company, finding talent, defining a style, roles and responsibilities, building an audience, marketing, the logistics of a production, legalities, funding, and productions at festivals and beyond. The book also includes a chapter on being a sustainable company, and how to create a mindset that will lead to positive artistic creation. Each chapter contains a list of further resources, key terms and helpful tasks designed to support the reader through all of the steps necessary to thrive as a new organisation. An eResource page contains links to a wide range of industry created templates, guidance and interviews, making it even easier for you to get up and running as simply as possible. Starting a Theatre Company targets Theatre and Performance students interested in building their own theatre companies. This book will also be invaluable to independent producers and theatre makers.

The only comprehensive and in-depth history of mime and physical theatre in the UK, from its roots, influences and early pioneers, to the leading lights and international successes of today. Includes original interviews with pioneers in the field, including: Joseph Seelig, Helen Lannaghan, Steven Berkoff, Julian Chagrin, Annabel Arden, Nola Rae, Denise Wong, David Glass, Justin Case and Toby Sedgwick. A one-stop shop for anyone studying contemporary UK theatre and its physical innovators, including Forced Entertainment, DV8, and Improbable.

The only comprehensive and in-depth history of mime and physical theatre in the UK, from its roots, influences and early pioneers, to the leading lights and international successes of today. Includes original interviews with pioneers in the field, including: Joseph Seelig, Helen Lannaghan, Steven Berkoff, Julian Chagrin, Annabel Arden, Nola Rae, Denise Wong, David Glass, Justin Case and Toby Sedgwick. A one-stop shop for anyone studying contemporary UK theatre and its physical innovators, including Forced Entertainment, DV8, and Improbable.

Transcultural Theater outlines the idea of a transcultural theater as enabling an approximation to and an interaction with the foreign and the alien. In consideration of the allure of fundamentalist and populist movements that promote the development and practices of xenophobia worldwide, this book makes a powerful plea for the art of theater as a medium of conviviality with (the) foreign(er) that should not be underestimated. This study contributes to transcultural experience, artistic practice, and education in the medium of theater. The book’s investigation extends far into space and time and pays particular attention to the relationship between aesthetic experience, artistic practice, and academic representation. This book is for scholars and students as well as for all those working in the cultural field, especially in the field of cultural transfer.

This book applies ecolinguistics and psychoanalysis to explore how films fictionalising environmental disasters provide spectacular warnings against the dangers of environmental apocalypse, while highlighting that even these apparently environmentally friendly films can still facilitate problematic real-world changes in how people treat the environment. Ecological Film Theory and Psychoanalysis argues that these films exploit cinema’s inherent Cartesian grammar to construct texts in which not only small groups of protagonist survivors, but also vicarious spectators, pleasurably transcend the fictionalised destruction. The ideological nature of the ‘lifeboats’ on which these survivors escape, moreover, is accompanied by additional elements that constitute contemporary Cartesian subjectivity, such as class and gender binaries, restored nuclear families, individual as opposed to social responsibilities for disasters, and so on. The book conducts extensive analyses of these processes, before considering alternative forms of filmmaking that might avoid the dangers of this existing form of storytelling. The book’s new ecosophy and film theory establishes that Cartesian subjectivity is an environmentally destructive ‘symptom’ that everyday linguistic activities like watching films reinforce. This book will be of great interest to students and scholars of film studies, literary studies (specifically ecocriticism), cultural studies, ecolinguistics, and ecosophy.