Essays, criticism, and performance scripts written between 1985 and 2003 by an artist whose artistic practice investigates and reveals the social structures of art and its institutions. Andrea Fraser's work, writes Pierre Bourdieu in his foreword to Museum Highlights, is able to "trigger a social mechanism, a sort of machine infernale whose operation causes the hidden truth of social reality to reveal itself." It often does this by incorporating and inhabiting the social role it sets out to critique-as in a performance piece in which she leads a tour as a museum docent and describes the men's room in the same elevated language that she uses to describe seventeenth-century Dutch paintings. Influenced by the interdisciplinarity of postmodernism, Fraser's interventionist art draws on four primary artistic and intellectual frameworks-institutional critique, with its site-specific examination of cultural context; performance; feminism, with its investigation of identity formation; and Bourdieu's reflexive sociology. Fraser's writings form an integral part of her artistic practice, and this collection of texts written between 1985 and 2003-including the performance script for the docent's tour that gives the book its title-both documents and represents her work. The writings in Museum Highlights are arranged to reflect different aspects of Fraser's artistic practice. They include essays that trace the development of critical "artistic practice" as cultural resistance; performance scripts that explore art institutions and the public sphere; and texts that explore the ambivalent relationship of art to the economic and political interests of its time. The final piece, "Isn't This a Wonderful Place? (A Tour of a Tour of the Guggenheim Bilbao)," reflects on the role of museums in an era of globalization. Among the book's 30 illustrations are stills from performance pieces, some never before published.

Every month, the art association HMKV presents the latest videos by international artists in its series "HMKV Video of the Month" which has been ongoing since March 2014. The idea for the series came from the desire to show the newest artistic productions in rapid succession, changing works at a faster pace than in the exhibitions of the HMKV. For the first time, this publication unites all 78 works that have been exhibited since 2014. The videos address a variety of different topics and stories, ranging from labour conditions, structural changes, speculative technologies, or posthuman machines to technology (and its history) as well as artificial intelligence. A wide array of works is devoted to the old 'new' right-wingers and the alt-right. The book not only shows stills of all videos, but each work is also accompanied by an introductory text to provide a comprehensive overview. Text in English and German.

Anyone who wants to start a youth storytelling group or troupe will find a wealth of practical information and inspiration in this guide. Written by two veteran storytellers and storytelling group leaders, this book takes you step by step through the entire process of planning, starting, managing, and growing your storytelling group-even up through taking the show on the road. Complete instructions for teaching storytelling skills and performing are accompanied by dozens of reproducible activities and practical tips-from how to recruit members and how to adapt stories for telling to what to wear when performing, and fundraising ideas. Storytelling is a powerful teaching and learning tool. It increases literacy and language skills, builds creativity and imagination, instills confidence, encourages cooperation and collaboration-and it's great fun for everyone! Share the gift of storytelling with young people and watch them grow. Grades 4-12.

Hailed for his humor and passion, the internationally acclaimed performance artist Tim Miller has delighted, shocked, and emboldened audiences all over the world. "Body Blows" gathers six of Miller's best-known performances that chart the sexual, spiritual, and political topography of his identity as a gay man: Some Golden States, Stretch Marks, My Queer Body, Naked Breath, Fruit Cocktail, and Glory Box. In "Body Blows," Tim Miller leaps from the stage to the page, as each performance script is illustrated with striking photographs and accompanied by Miller's notes and comment.
This book explores the tangible body blows--taken and given--of Miller's life and times as explored in his performances: the queer-basher's blow, the sweet blowing breath of a lover, the below-the-belt blow of HIV/AIDS, the psychic blows from a society that disrespects the humanity of lesbian and gay relationships. Miller's performances are full of the put-up-your-dukes and stand-your-ground of such day-to-day blows that make up being gay in America

Twenty-five years after the publication of A Dictionary of the Avant-Gardes, the distinguished critic and arts historian Richard Kostelanetz returns to his favorite subject for a third edition. Rewriting earlier entries, adding hundreds of new ones, Kostelanetz provides intelligence and information unavailable anywhere else, no less in print than online, about a wealth of subjects and individuals. Focused upon what is truly innovative and excellent, he ranges widely with insight and surprise, including appreciations of artistic athletes such as Muhammad Ali, Johan Cruyff, and the Harlem Globetrotters and such collective creations as Las Vegas and his native New York City. Continuing the traditions of cheeky high-style Dictionarysts, honoring Samuel Johnson and Nicolas Slonimsky (both with individual entries), Kostelanetz offers a "reference book" to be enjoyed not only in bits and chunks, but continuously as one of the dozen books someone would take if they planned to be stranded on a desert isle.

Theatre in Dublin,1745-1820: A Calendar of Performances is the first comprehensive, daily compendium of more than 18,000 performances that took place in Dublin's many professional theatres, music halls, pleasure gardens, and circus amphitheatres between Thomas Sheridan's becoming the manager at Smock Alley Theatre in 1745 and the dissolution of the Crow Street Theatre in 1820. The daily performance calendar for each of the seventy-five seasons recorded here records and organizes all surviving documentary evidence pertinent to each evening's entertainments, derived from all known sources, but especially from playbills and newspaper advertisements. Each theatre's daily entry includes all preludes, mainpieces, interludes, and afterpieces with casts and assigned roles, followed by singing and singers, dancing and dancers, and specialty entertainments. Financial data, program changes, rehearsal notices, authorship and premiere information are included in each component's entry, as is the text of contemporary correspondence and editorial contextualization and commentary, followed by other additional commentary, such as the many hundreds of printed puffs, notices, and performance reviews. In the cases of the programs of music halls, pleasure gardens, and circuses, the playbills have generally been transcribed verbatim. The calendar for each season is preceded by an analytical headnote that presents several categories of information including, among other things, an alphabetical listing of all members of each company, whether actors, musicians, specialty artists, or house servants, who are known to have been employed at each venue. Limited biographical commentary is included, particularly about performers of Irish origin, who had significant stage careers but who did not perform in London. Each headnote presents the seasons's offerings of entertainments of each theatrical type (prelude, mainpiece, interlude, afterpiece) analyzed according to genre, including a list of the number of plays in each genre and according to period in which they were first performed. The headnote also notes the number of different plays by Shakespeare staged during each season and gives particular attention to entertainments of "special Irish interest." The various kinds of benefit performance and command performances are also noted. Finally, this Calendar of Performances contains an appendix that furnishes a season-by-season listing of the plays that were new to the London patent theatres, and, later, of the important "minors." This information is provided in order for us to understand the interrelatedness of the London and Dublin repertories.

Theatre in Dublin,1745-1820: A Calendar of Performances is the first comprehensive, daily compendium of more than 18,000 performances that took place in Dublin's many professional theatres, music halls, pleasure gardens, and circus amphitheatres between Thomas Sheridan's becoming the manager at Smock Alley Theatre in 1745 and the dissolution of the Crow Street Theatre in 1820. The daily performance calendar for each of the seventy-five seasons recorded here records and organizes all surviving documentary evidence pertinent to each evening's entertainments, derived from all known sources, but especially from playbills and newspaper advertisements. Each theatre's daily entry includes all preludes, mainpieces, interludes, and afterpieces with casts and assigned roles, followed by singing and singers, dancing and dancers, and specialty entertainments. Financial data, program changes, rehearsal notices, authorship and premiere information are included in each component's entry, as is the text of contemporary correspondence and editorial contextualization and commentary, followed by other additional commentary, such as the many hundreds of printed puffs, notices, and performance reviews. In the cases of the programs of music halls, pleasure gardens, and circuses, the playbills have generally been transcribed verbatim. The calendar for each season is preceded by an analytical headnote that presents several categories of information including, among other things, an alphabetical listing of all members of each company, whether actors, musicians, specialty artists, or house servants, who are known to have been employed at each venue. Limited biographical commentary is included, particularly about performers of Irish origin, who had significant stage careers but who did not perform in London. Each headnote presents the seasons's offerings of entertainments of each theatrical type (prelude, mainpiece, interlude, afterpiece) analyzed according to genre, including a list of the number of plays in each genre and according to period in which they were first performed. The headnote also notes the number of different plays by Shakespeare staged during each season and gives particular attention to entertainments of "special Irish interest." The various kinds of benefit performance and command performances are also noted. Finally, this Calendar of Performances contains an appendix that furnishes a season-by-season listing of the plays that were new to the London patent theatres, and, later, of the important "minors." This information is provided in order for us to understand the interrelatedness of the London and Dublin repertories.

Theatre in Dublin,1745-1820: A Calendar of Performances is the first comprehensive, daily compendium of more than 18,000 performances that took place in Dublin's many professional theatres, music halls, pleasure gardens, and circus amphitheatres between Thomas Sheridan's becoming the manager at Smock Alley Theatre in 1745 and the dissolution of the Crow Street Theatre in 1820. The daily performance calendar for each of the seventy-five seasons recorded here records and organizes all surviving documentary evidence pertinent to each evening's entertainments, derived from all known sources, but especially from playbills and newspaper advertisements. Each theatre's daily entry includes all preludes, mainpieces, interludes, and afterpieces with casts and assigned roles, followed by singing and singers, dancing and dancers, and specialty entertainments. Financial data, program changes, rehearsal notices, authorship and premiere information are included in each component's entry, as is the text of contemporary correspondence and editorial contextualization and commentary, followed by other additional commentary, such as the many hundreds of printed puffs, notices, and performance reviews. In the cases of the programs of music halls, pleasure gardens, and circuses, the playbills have generally been transcribed verbatim. The calendar for each season is preceded by an analytical headnote that presents several categories of information including, among other things, an alphabetical listing of all members of each company, whether actors, musicians, specialty artists, or house servants, who are known to have been employed at each venue. Limited biographical commentary is included, particularly about performers of Irish origin, who had significant stage careers but who did not perform in London. Each headnote presents the seasons's offerings of entertainments of each theatrical type (prelude, mainpiece, interlude, afterpiece) analyzed according to genre, including a list of the number of plays in each genre and according to period in which they were first performed. The headnote also notes the number of different plays by Shakespeare staged during each season and gives particular attention to entertainments of "special Irish interest." The various kinds of benefit performance and command performances are also noted. Finally, this Calendar of Performances contains an appendix that furnishes a season-by-season listing of the plays that were new to the London patent theatres, and, later, of the important "minors." This information is provided in order for us to understand the interrelatedness of the London and Dublin repertories.

All the girls love a bastard. Tom Jones follows the adventures of a young man of illegitimate birth through a tale of love, deception and mistaken identity; a feast of human nature, served up in the plain and simple manner of the West Country with all the high French and Italian seasoning of sex and vice. Will he gain his darling Sophia's hand? Will he escape the hangman's noose? Will he ever learn to keep it in his trousers...? Henry Fielding's comic picaresque novel 'A History Of Tom Jones, a foundling' caused a stir upon first publication in 1749. Often referred to as the first novel in the English language, this cunning new stage version tells the escapades and exploits of the infamous protagonist through an accessible and highly entertaining adaptation.

Performing presence: Between the live and the simulated proposes that the advent of new media forms, and the increasing integration of contemporary performance and media, has generated new engagements, practices and understandings of presence. Addressing new media art and performance, multi-media theatre, video installation, mixed reality environments and locative arts, the book presents case studies of work by Lynn Hershman Leeson, Paul Sermon, Gary Hill, Tony Oursler, The Builders Association and Blast Theory, as well as analyses of a series of related experiments created for CAVE, an immersive virtual reality environment. Performing presence combines extensive analysis, and extracts from interviews with the artists, as well as the documentation of elements of work and working processes, in order to provide specific insight into these engagements with contemporary practices and concepts presence. This book will be of interest to students, researchers and practitioners of theatre and performance, contemporary art, media, new media and technology. -- .

Performance artist Linda Montano, curious about the influence childhood experience has on adult work, invited other performance artists to consider how early events associated with sex, food, money/fame, or death/ritual resurfaced in their later work. The result is an original and compelling talking performance that documents the production of art in an important and often misunderstood community.
Among the more than 100 artists Montano interviewed from 1979 to 1989 were John Cage, Suzanne Lacy, Faith Ringgold, Dick Higgins, Annie Sprinkle, Allan Kaprow, Meredith Monk, Eric Bogosian, Adrian Piper, Karen Finley, and Kim Jones. Her discussions with them focused on the relationship between art and life, history and memory, the individual and society, and the potential for individual and social change. The interviews highlight complex issues in performance art, including the role of identity in performer-audience relationships and art as an exploration of everyday conventions rather than a demonstration of virtuosity.

Published through the Recovering Languages and Literacies of the Americas initiative, supported by the Andrew W. Mellon Foundation Victoria Howard was born around 1865, a little more than ten years after the founding of the Confederated Tribes of Grand Ronde in western Oregon. Howard's maternal grandmother, Wagayuhlen Quiaquaty, was a successful and valued Clackamas shaman at Grand Ronde, and her maternal grandfather, Quiaquaty, was an elite Molalla chief. In the summer of 1929 linguist Melville Jacobs, student of Franz Boas, requested to record Clackamas Chinook oral traditions with Howard, which she enthusiastically agreed to do. The result is an intricate and lively corpus of linguistic and ethnographic material, as well as rich performances of Clackamas literary heritage, as dictated by Howard and meticulously transcribed by Jacobs in his field notebooks. Ethnographical descriptions attest to the traditional lifestyle and environment in which Howard grew up, while fine details of cultural and historical events reveal the great consideration and devotion with which she recalled her past and that of her people. Catharine Mason has edited twenty-five of Howard's spoken-word performances into verse form entextualizations, along with the annotations provided by Jacobs in his publications of Howard's corpus in the late 1950s. Mason pairs performances with biographical, family, and historical content that reflects Howard's ancestry, personal and social life, education, and worldview. Mason's study reveals strong evidence of how the artist contemplated and internalized the complex meanings and everyday lessons of her literary heritage.

Die meisten Leute sind der Meinung, dass sie nur schlecht auswendig lernen konnen, aber Andrew Page hat die Entdeckung gemacht, dass man sich die Reihenfolge der Ereignisse im Markus-Evangelium sehr leicht merken kann. Dieses Buch will kein Kommentar sein, sondern zu einem Experiment einladen: Jesus neu kennen lernen, indem man sich die Jesus-Geschichte selbst erzahlt. Damit bietet das Markus-Experiment einen neuen und faszinierenden Zugang zur Bibel. Ein Resultat dieses Buches ist das Markus-Theater, bei dem 15 Christen einer Gemeinde oder einer Studentengruppe jede Begebenheit des Markusevangeliums als Rundtheater auffuhren. Das Markus-Theater findet in zahlreichen Landern statt.

Text in English & German. Like literary texts, films often tell stories on multiple levels. Ridley Scott made an ironic reference to this when he called his legendary science-fiction film Blade Runner a "700-layer cake". These buried structures are created in two ways: by elements that resonate throughout the film itself and by references to other films, texts, myths, paintings, historical events etc. that are adapted in a specific way by the director, the scriptwriter and the production team. The heroine in Hitchcock's film The Birds, for instance, is a modern Aphrodite / Venus. Just as Venus, born from the sea foam, was carried to land on a seashell, Melanie is carried across Bodega Bay in a boat that is not much bigger than Venus' vessel in Botticelli's painting. Melanie's name is another reference to Aphrodite, who was also known as Melaina, "the black one". In the fist scene of the film, in which she enters the pet shop where she later gets to know Mitch and buys the love birds, Melanie is also dressed in black. The Venus-like Melanie is felt to be a threat by others within their world, and especially by more conventional women. One of them screams at her hysterically: "I think you're evil! Evil!". This creates a particular connection between love and horror in the film. The classical Aphrodite also had a dark side -- her union with Ares produced not only Harmonia, but also Deimos and Phobos: "dread" and "fear". Detecting hidden references is only the first step in creating an analysis; the next step is to elucidate the function of the reference within the film. For instance, what does it mean that Hitchcock's heroine is attacked by birds, whereas Venus was depicted accompanied by a dove? And why does Melanie, our "Venus", wear furs? Kirsch's investigations of this and other questions open up new perspectives on a number of films, with extensive illustrations allowing the reader to follow these in detail. The book invites us to take a second look at The Birds, Blake Edwards' The Party, Ridley Scott's Blade Runner and Gladiator and Stefan Ruzowitzky's Anatomy. Konrad Kirsch is a PhD in literature and an enthusiastic viewer of films. He has published texts on Georg Buchner, Elias Canetti, Robert Walser, Franz Kafka and William Shakespeare. Most recently, his article on Heinrich von Kleist was published in the Zeitschrift fur deutsche Philologie.

The Routledge Companion to African American Theatre and Performance is an outstanding collection of specially written essays that charts the emergence, development, and diversity of African American Theatre and Performance-from the nineteenth-century African Grove Theatre to Afrofuturism. Alongside chapters from scholars are contributions from theatre makers, including producers, theatre managers, choreographers, directors, designers, and critics. This ambitious Companion includes: A "Timeline of African American theatre and performance." Part I "Seeing ourselves onstage" explores the important experience of Black theatrical self-representation. Analyses of diverse topics including historical dramas, Broadway musicals, and experimental theatre allow readers to discover expansive articulations of Blackness. Part II "Institution building" highlights institutions that have nurtured Black people both on stage and behind the scenes. Topics include Historically Black Colleges and Universities (HBCUs), festivals, and black actor training. Part III "Theatre and social change" surveys key moments when Black people harnessed the power of theatre to affirm community realities and posit new representations for themselves and the nation as a whole. Topics include Du Bois and African Muslims, women of the Black Arts Movement, Afro-Latinx theatre, youth theatre, and operatic sustenance for an Afro future. Part IV "Expanding the traditional stage" examines Black performance traditions that privilege Black worldviews, sense-making, rituals, and innovation in everyday life. This section explores performances that prefer the space of the kitchen, classroom, club, or field. This book engages a wide audience of scholars, students, and theatre practitioners with its unprecedented breadth. More than anything, these invaluable insights not only offer a window onto the processes of producing work, but also the labour and economic issues that have shaped and enabled African American theatre.

Performance generating systems are systematic and task-based dramaturgies that generate performance for or with an audience. In dance, such systems differ in ways that matter from more closed choreographed scores and more open forms of structured improvisation. Dancers performing within these systems draw on predefined and limited sources while working on specific tasks within constraining rules. The generating components of the systems provide boundaries that enable the performance to self-organize into iteratively shifting patterns instead of becoming repetitive or chaotic. This book identifies the generating components and dynamics of these works and the kinds of dramaturgical agency they enable. It explains how the systems of these creations affect the perception, cognition and learning of dancers and why that is a central part of how they work. It also examines how the combined dramaturgical and psychological effects of the systems performatively address individual and social conditions of trauma that otherwise tend to remain unchangeable and negatively impact the human capacity to learn, relate and adapt. The book provides analytical frameworks and practical insights for those who wish to study or apply performance generating systems in dance within the fields of choreography and dance dramaturgy, dance education, community dance or dance psychology. Featured cases offer unique insight into systems created by Deborah Hay and Christopher House, William Forsythe, Ame Henderson, Karen Kaeja and Lee Su-Feh.

"Peking Opera and Politics in Taiwan tells the peculiar story of an art caught in a sea of overtly ideological ebbs and flows. Nancy Guy demonstrates the potential significance of the political environment for an art form's development, ranging from determining the smallest performative details (such as how a melody can or cannot be composed to whether a tradition ultimately thrives or withers away. When Chiang Kai-Shek's Nationalists retreated to Taiwan in 1949, they brought Peking opera performers with them to strengthen their authority through a symbolically important art. Valuing mainland Chinese culture above Taiwanese culture, the Nationalists generously supported Peking opera to the virtual exclusion of local performing traditions, despite their wider popularity. Later, as Taiwan turned toward democracy, the island's own "indigenous" products became more highly valued and Peking opera found itself on a tenuous footing. Finally, in 1995, all of its opera troupes and schools (formerly supported by the ministry of Defense) were dismantled. Nancy Guy investigates the mechanisms through which Peking Opera was perpetuated, controlled, and ultimately disempowered, and explores the artistic and political consequences of the state's involvement as its primary patron. Her study provides a unique perspective on the interplay between ideology and power within Taiwan's dynamic society.

In Abject Performances Leticia Alvarado draws out the irreverent, disruptive aesthetic strategies used by Latino artists and cultural producers who shun standards of respectability that are typically used to conjure concrete minority identities. In place of works imbued with pride, redemption, or celebration, artists such as Ana Mendieta, Nao Bustamante, and the Chicano art collective known as Asco employ negative affects-shame, disgust, and unbelonging-to capture experiences that lie at the edge of the mainstream, inspirational Latino-centered social justice struggles. Drawing from a diverse expressive archive that ranges from performance art to performative testimonies of personal faith-based subjection, Alvarado illuminates modes of community formation and social critique defined by a refusal of identitarian coherence that nonetheless coalesce into Latino affiliation and possibility.

Why do so many writers and audiences turn to theatre to resolve overwhelming topics of pain and suffering? This collection of essays from international scholars reconsiders how theatre has played a crucial part in encompassing and preserving significant human experiences. Plays about global issues, including terrorism and war, are increasing in attention from playwrights, scholars, critics and audiences. In this contemporary collection, a gathering of diverse contributors explain theatre's special ability to generate dialogue and promote healing when dealing with human tragedy. This collection discusses over 30 international plays and case studies from different time periods, all set in a backdrop of war. The four sections document British and American perspectives on theatres of war, global perspectives on theatres of war, perspectives on Black Watch and, finally, perspectives on The Great Game: Afghanistan. Through this, a range of international scholars from different disciplines imaginatively rethink theatre's unique ability to mediate the impacts and experiences of war. Featuring contributions from a variety of perspectives, this book provides a wealth of revealing insights into why authors and audiences have always turned to the unique medium of theatre to make sense of war.

The first performances by Joseph Beuys were a radical turning point for twentieth-century art. Beuys saw art as a transformative action that is both personal and communal, and his expanded artistic practice engaged spirituality, personal mythology, political structures, and symbolic materials. For Manresa, one of his legendary performance actions, which took place on December 15, 1966 in Dusseldorf, he collaborated with the Danish artists Henning Christiansen and Bjorn Norgaard. This book presents never-before-seen materials from the performance, including texts, images, scripts, and preparatory drawings, alongside contributions from scholars and critics that offer further insight. Friedhelm Mennekes, an art critic and Jesuit priest, analyses Saint Ignatius of Loyola's imprint on Beuys's work while elucidating its spiritual complexity, looking beyond the popular vision of the artist as shaman. Pilar Parcerisas examines Beuys's spiritual geography, explaining the importance the town of Manresa within it and also laying out the physical and mystical coordinates of Eurasia, a site that was always present in Beuys's work. Klaus-D. Pohl addresses the paradoxical union between Beuys's mysticism and the neo-Dadaists of Fluxus. Beuys's collaborator Bjorn Norgaard recalls his time working with the German artist and reflects on the paths he opened up. Finally, art historian Harald Szeemann considers the possibility of liberating politics through spirituality.

An Illustrated History of British Theatre and Performance chronicles the history and development of theatre from the Roman era to the present day. As the most public of arts, theatre constantly interacted with changing social, political, and intellectual movements and ideas, and Robert Leach's masterful work restores to the foreground of this evolution the contributions of women, gay people, and ethnic minorities, as well as the regional theatres of Wales and Scotland. Highly-illustrated chapters trace the development of theatre through major plays from each period; evaluations of playwrights; contemporary dramatic theory; acting and acting companies; dance and music; the theatre buildings themselves; and the audience, while also highlighting enduring features of British theatre, from comic gags to the use of props.

What does artistic resistance look like in the twenty-first century, when disruption and dissent have been co-opted and commodified in ways that reinforce dominant systems? In The Play in the System Anna Watkins Fisher locates the possibility for resistance in artists who embrace parasitism-tactics of complicity that effect subversion from within hegemonic structures. Fisher tracks the ways in which artists on the margins-from hacker collectives like Ubermorgen to feminist writers and performers like Chris Kraus-have willfully abandoned the radical scripts of opposition and refusal long identified with anticapitalism and feminism. Space for resistance is found instead in the mutually, if unevenly, exploitative relations between dominant hosts giving only as much as required to appear generous and parasitical actors taking only as much as they can get away with. The irreverent and often troubling works that result raise necessary and difficult questions about the conditions for resistance and critique under neoliberalism today.