Two performance texts by Hannah Jane Walker and Chris Thorpe The Oh Fuck Moment Fucking up is the truest, funniest, most terrifying moment you can experience. Poet Hannah Jane Walker and theatre-maker Chris Thorpe examine the poetic guts of mistakes in a bundle of words and strip lighting. The Oh Fuck Moment is an award-winning conversation around a desk for brave souls to hold their hands up and admit they fucked up, or for people to laugh at us because we did. 'A brilliant celebration of our mistakes and evolutionary reflexes' Guardian I Wish I Was Lonely I Wish I Was Lonely is an interactive show about contactability asking whether the invisible waves we're tethered to might be drowning who we are. It's a show in which the audience commit to leaving their phones on. A show investigating what it means to participate in communication - or not. There are poems, there are stories and there is conversation. I Wish I Was Lonely sees Hannah Jane Walker and Chris Thorpe ask how much of ourselves we've given up to the new gods in our pockets. Hannah Jane Walker is a poet and Chris Thorpe is a theatre-maker.Together they make award-winning work that is part performance, part poetry gig and part interactive experience. Their work is based around an honest encounter between themselves, an audience and the difficult but often uplifting moments we all face in the process of living. Their shows feel like a generous, open conversation, with poetry and storytelling at their heart and space for audiences to contribute in a meaningful way.

"What is it that we're doing, when we're acting well? What is it that great actors are actually doing when they're practicing their craft at the highest level?" This is the question famously posed by Earle Gister, the legendary head of the acting department at Yale School of Drama from 1979 to 1999. In Acting Action, actor, director, and teaching artist Hugh O'Gorman invites readers to explore the question in detail. Focusing on playing action-one of the essential components of acting passed on to Earle Gister and Lloyd Richards by Paul Mann-Acting Action is divided into two parts: Context and Practice. The Context section provides a thorough examination of the theory behind the core elements of playing action. The Practice section provides a step-by-step rehearsal guide for actors to integrate playing action into their preparation process. Acting Action is a place to begin for actors: a foundation, a ground plan for how to get started and how to build the core of a performance. More precisely, it provides a practical guide for actors, directors, and teachers in the technique of playing action, addressing a void in the world of actor training by illuminating what exactly to do in the moment-to-moment act of acting. It also serves as an artistic instructional manual for either the stage or camera.

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.

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.

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.

Canada's recent sesquicentennial celebrations were the latest in a long, steady progression of Canadian cultural memory projects. Unbecoming Nationalism investigates the power of commemorative performances in the production of nationalist narratives. Using 'unbecoming' as a theoretical framework to unsettle or decolonize nationalist narratives, Helene Vosters examines an eclectic range of both state-sponsored social memory projects and counter-memorial projects to reveal and unravel the threads connecting reverential military commemoration, celebratory cultural nationalism, and white settler-colonial nationalism. Vosters brings readings of institutional, aesthetic, and activist performances of Canadian military commemoration, settler-colonial nationalism, and redress into conversation with literature that examines the relationship between memory, violence, and nationalism from the disciplinary arenas of performance studies, Canadian studies, critical race and Indigenous studies, memory studies, and queer and gender studies. In addition to using performance as a theoretical framework, Vosters uses performance to enact a philosophy of praxis and embodied theory.

"Brossa does not create; he selects", says Roger Bernat. And, indeed, Brossa works with scattered poems, ideas noted in margins, sentences, press cuttings, theatrical and paratheatrical plays. Poetry Brossa presents the artist's work against the grain, beyond limits, and between disciplines through his books, visual investigations, theatre, cinema, music and artistic actions. Structured in the form of a glossary, the book also establishes parallels with the work of three artists who were Brossa's contemporaries: Marcel Marien, Nicanor Parra and Ian Hamilton-Finlay. The publication includes essays by the curators Teresa Grandas and Pedro G. Romero, and contributions by Roger Bernat, Isabel de Naveran and Maria Salgado, who conceive some of the core definitions in the glossary. There is also an analysis by Llorenc Mas of a selection of sequences from the short film No compteu amb els dits (Don't Count with Your Fingers, 1967), directed by Pere Portabella. Additionally, three inserts feature works by Brossa, including Oda a Joan Brossa, Novella, and the collaborative piece Barcelona per Brossa.

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. -- .

Music, Dance, Affect, and Emotions in Latin America is a collection of essays that analyze different manifestations of Argentine music and dance taking advantage of the exciting new theoretical developments advanced by the current affective turn. Contributors deal with the relationship between music, dance, affects, feelings, and emotions in different scenarios and show how the embodiment of music shape the experiential in ways that may impact upon but nevertheless many times evade conscious knowing. This book is one of the first academic attempts (regardless of region or country of scope) to try to solve some of the most important problems the affective turn has identified regarding how music and dance have been researched so far, such as the tendency, in representational accounts of music, to ignore the sensory and sonic registers to the detriment of the embodied and lived registers of experience and feeling that unfold in the process of making or listening to music.

Une nouvelle direction generale, une nouvelle politique, l'entreprise prend une forme que Mochon cadre experimente ne reconnait pas. Le nouveau directeur general use de methodes proches du harcelement moral. Le doute s'installe dans l'esprit de Mochon, rien ne fonctionne correctement. Il est accuse d'incompetence. Ils sont des milliers comme lui, a etre demolis, harceles, detruits puis licencies sous des motifs passe-partout.

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.

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.

Cabane Imaginaire est la premiere de trois pieces pour Enfants, Pre-ados et Grands adolescents, trois histoires qui peuvent se jouer individuellement, ou bien a la suite, sachant que l'enjeu etait d'ecrire pour trois niveaux de classe. Dans "Cabane imaginaire," les enfants imaginent leur cabane. Dans "Nous irons ensemble voir les ours," on est suppose retrouver les memes eleves plus grands, qui decident pour des motivations ecologiques de faire un voyage au Canada, ou ils veulent voir les ours. Dans "Retour du Canada," les ados reviennent et doivent faire part de ce qu'ils ont vu au Canada. Il y a des choses qu'ils vont devoir expliquer et il ne sera pas facile de mettre de mots sur ce qu'ils ont vecu. Landau dans la scene finale.