Discussions surrounding music and ethical responsibility bring to mind arguments about legal ownership and purchase. Yet the many ways in which we experience music with others are usually overlooked. Musical experience and practice always involve relationships with other people, which can place limitations on how we listen to and act upon music. In Music and Ethical Responsibility, Jeff R. Warren challenges current approaches to music and ethics, drawing upon philosopher Emmanuel Levinas's theory that ethics is the responsibilities that arise from our encounters with other people. Warren examines ethical responsibilities in musical experiences including performing other people's music, noise, negotiating musical meaning, and improvisation. Revealing the diverse roles that music plays in the experience of encountering others, Warren argues that musicians, researchers, and listeners should place ethical responsibility at the heart of musical practices.

In this collection of interviews conducted between 2019-2021 with New York theater artists who have spent their lives working in and inventing the avant-garde, playwright Sara Farrington brings to light a series of "lost conversations" about class, race, difficulty, endurance, and privilege in the New York avant-garde of the past fifty years, as well as conversations about the ephemerality, the always-about-to-be-lostness of the medium itself. Featuring conversations with Joanne Akalaitis, Anne Bogart, Lee Breuer, Ping Chong, Richard Foreman, Andre Gregory, Deborah Hay, Bill T. Jones, Adrienne Kennedy, Lola Pashalinksi, Jennifer Tipton, Kate Valk, Mac Wellman, and Robert Wilson, The Lost Conversation is also a record both of the avant-garde's past and of its urgent present.

This book draws upon cognitive and affect theory to examine applications of contemporary performance practices in educational, social and community contexts. The writing is situated in the spaces between making and performance, exploring the processes of creating work defined variously as collaborative, participatory and socially engaged.

Nightclub, theatre, creative hub, party place, and one of the most important venues in Scotland, Britain and Europe: for almost 25 years, The Arches was the beating heart of Glasgow. In 1991, former punk-turned-theatre director Andy Arnold walked into the disused red brick Victorian railway arches underneath Glasgow's Central Station and immediately saw the potential of the space. Not even he could have imagined its future, as simultaneously one of the biggest and most famous nightclubs in the world and a major player on the European theatre scene. Until its closure following a drug-related death in 2015, The Arches carved its own, indefinable path, playing a vital role in the lives of many Scottish artists along the way. Some of those stars of the future began their careers taking tickets, hanging coats and serving drinks there. For the first time, the people who made the venue get to tell their story. Piecing together accounts from directors, DJs, performers, clubbers, artists, bar tenders, actors, audiences and staff, Brickwork writes the biography of a space that was always more than its bricks and mortar.

Tracing the configuration of the slapstick, destitute Peladita/Peladito and the Pachuca/Pachuco (depicted in flashy zoot suits) from 1928 to 2004, Wild Tongues is an ambitious, extensive examination of social order in Mexican and Chicana/o cultural productions in literature, theater, film, music, and performance art. From the use of the Peladita and the Peladito as stock characters who criticized various aspects of the Mexican government in the 1920s and 1930s to contemporary performance art by Maria Elena Gaitan and Dan Guerrero, which yields a feminist and queer-studies interpretation, Rita Urquijo-Ruiz emphasizes the transnational capitalism at play in these comic voices. Her study encompasses both sides of the border, including the use of the Pachuca and the Pachuco as anti-establishment, marginal figures in the United States. The result is a historically grounded, interdisciplinary approach that reimagines the limitations of nation-centered thinking and reading. Beginning with Daniel Venegas's 1928 novel, Las aventuras de don Chipote o Cuando los pericos mamen, Rita Urquijo-Ruiz's Wild Tongues demonstrates early uses of the Peladito to call attention to the brutal physical demands placed on the undocumented Mexican laborer. It explores Teatro de Carpa (tent theater) in-depth as well, bringing to light the experience of Mexican Peladita Amelia Wilhelmy, whose "La Willy" was famous for portraying a cross-dressing male soldier who criticizes the failed Revolution. In numerous other explorations such as these, the political, economic, and social power of creativity continually takes center stage.

In !Presente! Diana Taylor asks what it means to be physically and politically present in situations where it seems that nothing can be done. As much an act, a word, an attitude, a theoretical intervention, and a performance pedagogy, Taylor maps !presente! at work in scenarios ranging from conquest, through colonial enactments and resistance movements, to present moments of capitalist extractivism and forced migration in the Americas. !Presente!-present among, with, and to; a walking and talking with others; an ontological and epistemic reflection on presence and subjectivity as participatory and relational, founded on mutual recognition-requires rethinking and unlearning in ways that challenge colonial epistemologies. Showing how knowledge is not something to be harvested but a process of being, knowing, and acting with others, Taylor models a way for scholarship to be present in political struggles.

Finalist for The Barnard Hewitt Award for Outstanding Research in Theatre History, given by the American Society for Theatre Research. Silver Medal Winner of The Victor Villasenor Best Latino Focused Non-Fiction Book Award, given by the International Latino Book Awards. Honorable Mention for the Best LGBTQ+ Themed Book, given by the International Latino Book Awards. A queer genealogy of the famous performance space and the nuyorican aesthetic One could easily overlook the Nuyorican Poets Cafe, a small, unassuming performance venue on New York City's Lower East Side. Yet the space once hosted the likes of Victor Hernandez Cruz, Allen Ginsberg, and Amiri Baraka and is widely credited as the homespace for the emergent nuyorican literary and aesthetic movement of the 1990s. Founded by a group of counterculturalist Puerto Rican immigrants and artists in the 1970s, the space slowly transformed the Puerto Rican ethnic and cultural associations of the epithet "Nuyorican," as the Cafe developed into a central hub for an artistic movement encompassing queer, trans, and diasporic performance. The Queer Nuyorican is the first queer genealogy and critical study of the historical, political, and cultural conditions under which the term "Nuyorican" shifted from a raced/ethnic identity marker to "nuyorican," an aesthetic practice. The nuyorican aesthetic recognizes and includes queer poets and performers of color whose writing and performance build upon the politics inherent in the Cafe's founding. Initially situated within the Cafe's physical space and countercultural discursive history, the nuyorican aesthetic extends beyond these gendered and ethnic boundaries, broadening the ethnic marker Nuyorican to include queer, trans, and diasporic performance modalities. Hip-hop studies, alongside critical race, queer, literary, and performance theories, are used to document the interventions made by queer and trans artists of color-Miguel Pinero, Regie Cabico, Glam Slam participants, and Ellison Glenn/Black Cracker-whose works demonstrate how the Nuyorican Poets Cafe has operated as a queer space since its founding. In focusing on artists who began their careers as spoken word artists and slam poets at the Cafe, The Queer Nuyorican examines queer modes of circulation that are tethered to the increasing visibility, commodification, and normalization of spoken word, slam poetry, and hip-hop theater in the United States and abroad.

The book provides an investigation grounded in performance practice and practice-as-research methodology on the issues of authorship and collaborative labour. This investigation is set in the context of a world more and more characterized by fragmentation, displacement and virtual communication and relationships. It addresses and playfully engages with the following questions: what is a collaborative body? How can one sole performer enact and convey a collaborative practice? How can one body on stage carry out several voices at once? Can we stand in for others? How do we maintain a sense of 'being-together' while being alone in a room? The book contains the full-length definitive version of the performance score from A Duet Without You, an original performance piece created between 2013 and 2015 by Chloe Dechery in collaboration with a range of high-profile artistic collaborators working inter- and cross-disciplinary, including Karen Christopher (Goat Island), Michael Pinchbeck, Deborah Pearson (Forest Fringe), Simone Kenyon and Pedro Ins. In addition to the main performance score, another original text has been produced and is included as a 'template' version of the script to be adapted and enacted by existing or potential future collaborators - the idea being that any reader could appropriate and reinterpret a version of the performance score and create their own personalised rendition of the show. Besides these two new and original performance scores, there is a complementary collection of essays, ranging from performative responses and co-authored articles to in-depth theoretical essays, written by a selection of pre-eminent writers, artists and academics. Primary readership will be those teaching, researching or studying in theatre and performance studies, visual arts, fine arts, art history, creative writing, poetry, philosophy or French literature. Will also be of interest to art school students and those with an interest in theatre.

This unconventional publication explores the process of making art through the work and studio practice of Sophie Whettnall (b. 1973), a contemporary Belgian artist whose works range from video art, installation, and performance to sculpture and drawing. In addition to copious illustrations of Whettnall's artwork that highlight its relationship to the studio and the artist's creative process, the book features three conversations. The first, between Whettnall and fellow artist Marina Abramovic, explores transmission, violence, and femininity. The second, between Emiliano Battista and Scott Samuelson, situates Whettnall's work and practice in the broader context of contemporary art and the theoretical framework that shapes it. In the third, Carine Fol and Whettnall share with the reader the behind-the-scenes discussions and decisions that go into the mounting of an exhibition.

Ernesto Pujol here combines elements from an art book, field journal and walkers' manifesto. It is a text for performative artists, art students, and all who walk as cultural activism. Walking Art Practice is a collection of intimate reflections by the author, which bring together his experiences as a former monk, performance artist, social choreographer and educator. They serve as a provocation, walkers' manifesto and teaching guide for walking as mindful cultural activism. This book is an invitation to: Rethink what it means to walk and explore different ways in which to walk as: a cultural practice a meditative practice a radical practice art healing social engagement. Reconsider how to attend to the inner and outer landscape whilst walking. Treat walking as a performance resource. Walk as an everyday pilgrimage. Walk slowly, walk in and with awareness, walk with and without skill, walk to regain and to lose control... " Artists are trying to move away from the influence of competitive corporate culture that has increasingly defined art as an abrasive urban career. Artists are trying to replace this with the humbler notion of art as a practice, as a mindful way of life, consisting of consciously creative gestures, visible and invisible, large and small. Art practice is a private and public, selfless and generous, creative life process resulting in a conscious cultural product."

The Greek Music Drama marks an intriguing moment in the development of Nietzsche's thought. Delivered in 1870 at the Basel Museum, it was the first public enunciation of the great themes that would echo throughout Nietzsche s philosophy: the importance of aesthetic experience for culture, the primacy of the body and physiological drives, and the centrality of music to Greek tragedy. Here we see Nietzsche s genealogical methodology in embryonic form alongside the anti-humanist aesthetics that will bloom in his later work. Addressing the material conditions of Greek theater in detail, Nietzsche repudiates the abstract scholarly approach to the art of classical antiquity, proposing that in its stead we cultivate different emotional and intellectual powers in order to gain greater insight into that art. This seminal lecture offers an account of tragic experience from the sole perspective of the Dionysian, presenting a reading of nature of startling and far-reaching implications. While The Greek Music Drama is a text written on the brink of the insights that inform The Birth of Tragedy, it stands on its own right as a singular text. This work is of considerable importance and is now made available in English for the very first time, with the translation set parallel to the original German in this elegant bilingual edition. Paul Bishop s preface and informative critical notes and Jill Marsden s illuminating introduction not only serve to make good the comparative neglect this seminal text has suffered in Nietzsche studies, they also lend the unique expertise of two Nietzsche scholars to the early thought of a philosopher who is crucial not just to philosophy scholars and aficionados, but to anyone interested in theater, performance, and the art of tragedy.

A bold rethinking of the Civil Rights Movement through the lens of Black theater "Freedom, Now!" This rallying cry became the most iconic phrase of the Civil Rights Movement, challenging the persistent command that Black people wait-in the holds of slave ships and on auction blocks, in segregated bus stops and schoolyards-for their long-deferred liberation. In Black Patience, Julius B. Fleming Jr. argues that, during the Civil Rights Movement, Black artists and activists used theater to energize this radical refusal to wait. Participating in a vibrant culture of embodied political performance that ranged from marches and sit-ins to jail-ins and speeches, these artists turned to theater to unsettle a violent racial project that Fleming refers to as "Black patience." Inviting the likes of James Baldwin, Lorraine Hansberry, Alice Childress, Douglas Turner Ward, Duke Ellington, and Oscar Brown Jr. to the stage, Black Patience illuminates how Black artists and activists of the Civil Rights era used theater to expose, critique, and repurpose structures of white supremacy. In this bold rethinking of the Civil Rights Movement, Fleming contends that Black theatrical performance was a vital technology of civil rights activism, and a crucial site of Black artistic and cultural production.

Published in Valiz's new "Antennae" series devoted to new research in art, photography, architecture and design, "Moving Together" examines contemporary dance from both a practical and theoretical perspective. The author, Professor Rudi Laermans, analyzes three tendencies: pure dance, dance theater and (self-) reflexive dance. He proposes a theoretical framework for understanding how artistic cooperation figures into the creation of dance. Boasting a great design by the maverick Dutch studio Metahaven, "Moving Together" includes dialogues with some of the most influential names in contemporary dance spanning several generations: Anne Teresa De Keersmaeker, founder of the cutting-edge dance company Rosas; Jerome Bel, the controversial and experimental French choreographer; William Forsythe, known internationally for his work with Ballett Frankfurt (1984-2004) and The Forsythe Company (2005-present); as well as many others dance innovators.

For the last five years, New York and Toronto-based artist Brendan Fernandes has explored how stillness and static movement can be powerful political tools. Informed by his training in ballet and modern dance, Fernandes' practice routinely explores the role of the body within social and political spaces, questioning and breaking down the notion of hegemony. Inspired by ballet movement vocabularies relating to labour and endurance, the work demonstrates the artist's keen interest in responding to histories of avant- garde dance and its relationship to visual art. Featuring texts by Hendrik Folkerts, curator of documenta 14 and Jess Wilcox, Programs Coordinator of the Elizabeth A Sackler Center for Feminist Art at the Brooklyn Museum, and with contributions from curators Shaun Dacey, Anik Glaude, Robin Metcalfe, Crystal Mowry and Stuart Reid, this book focuses on Fernandes' use of language and dance as a means to explore power, endurance and resistance.Published in partnership with the kitchener-Waterloo Art Gallery.

In The Cry of the Senses, Ren Ellis Neyra examines the imaginative possibility for sound and poetics to foster new modes of sensorial solidarity in the Caribbean Americas. Weaving together the black radical tradition with Caribbean and Latinx performance, cinema, music, and literature, Ellis Neyra highlights the ways Latinx and Caribbean sonic practices challenge antiblack, colonial, post-Enlightenment, and humanist epistemologies. They locate and address the sonic in its myriad manifestations-across genres and forms, in a legal trial, and in the art and writing of Xandra Ibarra, the Fania All-Stars, Beatriz Santiago Munoz, Edouard Glissant, and Eduardo Corral-while demonstrating how it operates as a raucous form of diasporic dissent and connectivity. Throughout, Ellis Neyra emphasizes Caribbean and Latinx sensorial practices while attuning readers to the many forms of blackness and queerness. Tracking the sonic through their method of multisensorial, poetic listening, Ellis Neyra shows how attending to the senses can inspire alternate, ethical ways of collective listening and being.

Bringing together a range of perspectives to examine the full impact of political, socio-economic or psychological experiences of exile, Performing Exile: Foreign Bodies presents an inclusive mix of voices from varied cultural and geographic affiliations. The collected essays in this book focus on live performances that were inspired by living in exile. Chapters blend close critical analysis and ethnography to document and interrogate performances and the contexts that inform them. In a world where exiled populations continue to grow, the role of art to document and engage with these experiences will continue to be essential, and this diverse book offers an important model for understanding the rich body of work being created today. A PDF version of this book is available for free in open access via the OAPEN Library platform, Performing Exile. It has been made available under a Creative Commons Attribution 4.0 International Public License and is part of Knowledge Unlatched.