This pioneering book has now been expanded with a new chapter that brings it into the second decade of the twenty-first century, mapping the global rise of performance to the present day. RoseLee Goldberg explores contemporary artists approaches to politics, tradition, social engagement, and the art world itself, while evaluating the changing status of performance and its ever-increasing relevance to artists and audiences. Featuring recent work by leading performance artists such as Marina Abramovic, Walid Raad, Francis Alys, Pierre Huyghe, Tino Sehgal, and Sharon Hayes, the book covers a century of the medium. This new edition also includes an updated foreword and an expanded reading list.

A night out. Friends, alcohol, a shit club, a strop - the usual. But tonight is different. Tonight will change things forever. With Love Steals us from Loneliness, Gary Owen, one of Wales's foremost playwrights, returns to his hometown of Bridgend. The media have told us their Bridgend story, but what will a writer who spent his own teenage years here have to say?

"Sighting/Citing/Siting "is a broad contextualization of an interdisciplinary, cross-cultural performance entitled Crossfiring/Mama Wetotan. Produced by Knowhere Productions Inc. at the Claybank Brick Plant National Historic Site (Saskatchewan, Canada) in 2006, this site-specific event explored the significance of the Dirt Hills to pre-contact aboriginal culture and to the non-aboriginals who have proliferated there since the mid-nineteenth century. The negotiation between practise and theory, in particular the desire to privilege neither, is represented in the book's design; its collection of critical articles, full-colour catalogue, and DVD of artist interviews and performances describe the interaction of a range of site-specific practises focusing on collaboration and interdisciplinarity.
This book is pertinent to those interested in non-conventional performance, site-specific practise, post-colonial history, labour history, cultural geography, and eco-tourism--and to all who understand the beauty of the Canadian prairies. DVD included.

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.

Praise for Dan Kwong:
"Somehow, Kwong has held onto his sense of childlike wonder about the cosmos, and that awe informs his free-wheeling and uproarious performance."
-"Asian Week"
"He weaves striking, multi-focus stage pictures around simple monologues about his Chinese and Japanese grandfathers, ironic accounts of his own childhood, and litanies of the trials facing Asian American males."
-"L.A. Times"
"Saturated with high-spirited enthusiasm . . . a refreshingly forthright approach to his often dark material."
-"Chicago Tribune"
"Kwong's humor is warm and loving . . . it stems from a delightfully twisted taste for the absurdity of human behavior. . . . Be prepared to laugh, to be moved, and to fall in love with a performer."
-"L.A. Reader"
Dan Kwong's performances delve into the complexities of growing up as a working-class Chinese-Japanese-American male in L.A., land of Hollywood and Disney. Kwong's remarkable performances, a potent array of multimedia effects and athletic physicalization, investigate questions of identity and the intersecting effects of race, culture, class, gender, and sexuality. "From Inner Worlds to Outer Space" brings together Kwong's scripts with illuminating commentary by critic Robert Vorlicky. The book includes interviews that reveal Kwong's personal and artistic influences, his evolution as an artist, and his philosophical and technical approach to art-making.

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

Xanti Schawinsky (1904-1979) was a master of improvisation-in the field of stage design, as a photographer, and as a creator of exhibition buildings and large-scale photomontages. While his late works are quite well known, his early works have remained nearly undiscovered. New documents from the estate facilitate an unobstructed view of this protagonist of the Bauhaus Dessau. The publication focuses on Schawinsky's early work, his position as head of the graphic design department of the building authority in Magdeburg starting in 1929, his designs for theater stages in Zwickau, and the photomontages that he created in cooperation with Gropius for the German Building Exhibition of 1931 and the Pennsylvania Pavilion for the World Fair of 1939. These works show Schawinsky to be an innovative photographer and trailblazer in modern design.

'I read the book in one go. I laughed and cried like a baby, and was transported back to a time of innocence, clouded by the enormity of the harsh reality . . . Just amazing' CATHERINE ZETA JONES 'As it happens, I was also a Jill in the eighties - but not half as good a Jill as real Jill' DAWN FRENCH 'Jill met the crisis head on . . . She held the hands of so many men. She lost them, and remembered them, and somehow kept going' RUSSELL T DAVIES A heartbreaking, life-affirming memoir of love, loss and cabaret through the AIDS crisis, from IT'S A SIN's Jill Nalder When Jill Nalder arrived at drama school in London in the early 1980s, she was ready for her life to begin. With her band of best friends - of which many were young, talented gay men with big dreams of their own - she grabbed London by the horns: partying with drag queens at the Royal Vauxhall Tavern, hosting cabarets at her glamorous flat, flitting across town to any jobs she could get. But soon rumours were spreading from America about a frightening illness being dubbed the 'gay flu', and Jill and her friends now found their formerly carefree existence under threat. In this moving memoir, IT'S A SIN's Jill Nalder tells the true story of her and her friends' lives during the AIDS crisis -- juggling a busy West End career while campaigning for AIDS awareness and research, educating herself and caring for the sick. Most of all, she shines a light on those who were stigmatised and shamed, and remembers those brave and beautiful boys who were lost too soon. 'Thank God for people like [Jill] . . . I cannot recommend this book highly enough' MICHAEL BALL 'An engaging, moving account' TIMES SATURDAY REVIEW 'Simultaneously devastating and uplifting' GRAZIA 'Engrossing, heart-breaking and inspiring' MATT CAIN

This is the first textbook designed for students, practitioners and scholars of the performing arts who are curious about the power of the cognitive sciences to throw light on the processes of performance. It equips readers with a clear understanding of how research in cognitive neuroscience has illuminated and expanded traditional approaches to thinking about topics such as the performer, the spectator, space and time, culture, and the text. Each chapter considers four layers of performance: conventional forms of theatre, performance art, and everyday life, offering an expansive vision of the impact of the cognitive sciences on performance in the widest sense. Written in an approachable style, An Introduction to Theatre, Performance and the Cognitive Sciences weaves together case studies of a wide range of performances with scientific evidence and post-structural theory. Artists such as Robert Wilson, Societas Raffaello Sanzio, Ariane Mnouchkine, Bertolt Brecht, and Antonin Artaud are brought into conversation with theories of Gilles Deleuze, Shaun Gallagher, Alva Noe, Tim Ingold and the science of V. S. Ramachandran, Vittorio Gallese, and Antonio Damasio. John Lutterbie offers a complex understanding of not only the act of performing but the forces that mark the place of theatre in contemporary society. In drawing on a variety of scientific articles, Lutterbie provides readers with an accessible account of significant research in areas in the field and reveals how the sciences can help us understand the experience of art.

In Collective Situations scholars, artists, and art collectives present a range of socially engaged art practices that emerged in Latin America during the Pink Tide period, between 1995 and 2010. This volume's essays, interviews, and artist's statements-many of which are appearing in English for the first time-demonstrate the complex relationship between moments of political transformation and artistic production. Whether addressing human rights in Colombia, the politics of urban spaces in Brazil, the violent legacy of military dictatorships in the region, or art's intersection with public policy, health, and the environment, the contributors outline the region's long-standing tradition of challenging ideas about art and the social sphere through experimentation. Introducing English-language readers to some of the most dynamic and innovative contemporary art in Latin America, Collective Situations documents new possibilities for artistic practice, collaboration, and creativity in ways that have the capacity to foster vibrant forms of democratic citizenship. Contributors Gavin Adams, Mariola V. Alvarez, Gustavo Buntinx, Maria Fernanda Cartagena, David Gutierrez Castaneda, Fabian Cereijido, Paloma Checa-Gismero, Kency Cornejo, Raquel de Anda, Bill Kelley Jr., Grant H. Kester, Suzanne Lacy, Ana Longoni, Rodrigo Marti, Elize Mazadiego, Annie Mendoza, Alberto Muenala, Prerana Reddy, Maria Reyes Franco, Pilar Riano-Alcala, Juan Carlos Rodriguez

The Methuen Drama Companion to Performance Art offers a comprehensive guide to the major issues and interdisciplinary debates concerning performance in art contexts that have developed over the last decade. It understands performance art as an institutional, cultural, and economic phenomenon rather than as a label or object. Following the ever-increasing institutionalization and mainstreaming of performance, the book's chapters identify a marked change in the economies and labor practices surrounding performance art, and explore how this development is reflective of capitalist approaches to art and event production. Embracing what we perceive to be the 'oxymoronic status' of performance art-where it is simultaneously precarious and highly profitable-the essays in this book map the myriad gestures and radical possibilities of this extreme contradiction. This Companion adopts an interdisciplinary perspective to present performance art's legacies and its current practices. It brings together specially commissioned essays from leading innovative scholars from a wide range of approaches including art history, visual and performance studies, dance and theatre scholarship in order to provide a comprehensive and multifocal overview of the emerging research trends and methodologies devoted to performance art.

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.

This study of Bob Dylan's art employs a performance studies lens, exploring the distinctive ways he brings words and music to life on recordings, onstage, and onscreen. Chapters focus on the relationship of Dylan's recorded performances to the historical bardic role, to the American popular song tradition, and to rock music culture. His uses of both stage and studio to shape his performances are explored, as are his forays into cinema. Special consideration is given to his vocal performances and to his use of particular personae as a performer. The full scope of Dylan's body of work to date is situated in terms of the influences that have shaped his performances and the ways these performances have shaped contemporary popular music.

This body of work is a contemplation of human beings' passage on earth and their intimate interrelation with the environment. This book attempts to bring humour to the things we are getting attached to. It points at the invisible within the visible, the immaterial within the material or the vertical nature of being (and its mirror-like quality) within our horizontal way of living (where our mind, time, and space condition our experiences). The naked body is seen as our primary indivisible unit of perception which is usually pushed and pulled by our thinking mind's desire to either get less or more. In other words, our lives are coloured by our minds and since body-mind is a single entity, most of the colours painted on the body are an allusion to the range of our changing desires from being invisible or transparent to wanting to be singular and the centre of attention. The book's Interviews (the interviewers are from Russia, Colombia, Korea, Germany, and the US) stanzas, and photographs are not seen as being subservient to one another but can be seen as an assemblage of three independent directions that may or may not intersect following each reader.

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.

The invisibilization of political violence, its material traces, and spatial manifestations, characterizes conflict and post-conflict situations. Yet, artists, writers, and human rights activists increasingly seek to challenge this invisibility, contesting the related historical amnesia through counter-semantics and dissonant narratives. Adopting "performance" as a concept that is defined by repetitive, aesthetic practices-such as speech and bodily habits through which both individual and collective identities are constructed and perceived-this collection addresses various forms of performing human rights in transitional situations in Spain, Latin America, and the Middle East. Bringing scholars together with artists, writers, and curators, and working across a range of disciplines, Performing Human Rights addresses these instances of omission and neglect, revealing how alternate institutional spaces and strategies of cultural production have intervened in the processes of historical justice and collective memory.

Anne Bean: Self Etc. is the first major monograph about the performance work of artist Anne Bean, a noted international figure who has been working actively since the 1960s. Part of the Intellect Live series, co-published with the Live Art Development Agency, this book includes extensive visual documentation of Bean's performances, critical essays by leading scholars of art and performance and a series of new visual essays by the artist. Additional contributions include documentation of collaborations with influential artists, such as Bean's Drawn Conversations, made at Franklin Furnace, New York, in collaboration with Harry Kipper, Karen Finley, Kim Jones and Fiona Templeton; and TAPS: Improvisations with Paul Burwell, involving numerous artists, including Paul McCarthy, Steven Berkoff, Evan Parker, Brian Catling, Carlyle Reedy, Rose English, David Toop, Lol Coxhill, Jacky Lansley and Maggie Nicols. Lavishly illustrated and including previously unseen images, Anne Bean explores and expands the nature, form and contexts that artistic collaboration can take.

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.

"Performance" has multiple and often overlapping meanings that signify a wide variety of social behaviors. In this invitation to reflect on the power of performance, Diana Taylor explores many of its uses and iterations: artistic, economic, sexual, political, and technological performance; the performance of everyday life; and the gendered, sexed, and racialized performance of bodies. This book performs its argument. Images and texts interact to show how performance is at once a creative act, a means to comprehend power, a method of transmitting memory and identity, and a way of understanding the world.

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.