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.

Onze adolescents conscients de la menace d'extinction des ours blancs, veulent profiter du voyage scientifique organise par Pierre Thimote, oncle de l'un d'entre eux pour se rapprocher du pole Nord. Sur les onze, seuls quatre d'entre eux devraient partir, ce qui n'est pas sans creer des problemes, d'autant que les garcons, qui se sont montres hostiles au projet dans un premier temps, changent d'avis et decident de se joindre au groupe.

In this Footbook, Phil Smith (Mytho, Crab Man) extends his critical account of the gentle walking arts to the predatory lurch of the living dead. A keen observer of the zombie mythos for the past 35 years, he draws on the multitude of plots, images and metaphors swarming from movies and comics to describe a groundbreaking way to have presence in everyday life. Invoking slowness, fragmentary consciousness, thickness and thingness, the author describes in strategic theory and a horde of tactics, how to walk from Night to Day and away from the old Dawn into a radical nothingness. Gorehounds will never see the zombie the same way again. Drawing examples from across the spectum of the living dead product, with plenty from its margins, Phil Smith celebrates and berates the zombie; then turns it into a meditation, a manifesto, a dance score and the herald of a social movement. Shambling around the three key principles of Interiority, Carnival and an End to Ends, the Footbook of Zombie Walking is a way back to a vital Life and an art of Living. It is the next step, beyond Mythogeography, to ending media predations, putting subjectivities back on the streets and coming to be present in everday life. The Footbook is a toolkit for anyone who wants to make their every gentle step or crawl an uprising against the apocalypse and a march to real life over the remains of a spectacle. 'When Humanity is fed up, then the living walk the Earth.'

Performance in the digital age has undergone a radical shift in which a once ephemeral art form can now be relived, replayed and repeated. Until now, much scholarship has been devoted to the nature of live performance in the digital age; Documenting Performance is the first book to provide a collection of key writings about the process of documenting performance, focused not on questions of liveness or the artistic qualities of documents, but rather on the professional approaches to recovering, preserving and disseminating knowledge of live performance. Through its four-part structure, the volume introduces readers to important writings by international practitioners and scholars on: * the contemporary context for documenting performance * processes of documenting performance * documenting bodies in motion * documenting to create In each, chapters examine the ways performance is documented and the issues arising out of the process of documenting performance. While theorists have argued that performance becomes something else whenever it is documented, the writings reveal how the documents themselves cannot be regarded simply as incomplete remains from live events. The methods for preserving and managing them over time, ensuring easy access of such materials in systematic archives and collections, requires professional attention in its own right. Through the process of documenting performance, artists acquire a different perspective on their own work, audiences can recall specific images and sounds for works they have witnessed in person, and others who did not see the original work can trace the memories of particular events, or use them to gain an understanding of something that would otherwise remain unknown to them and their peers.

Injustement condamne, Leon en cavale, cagoule et arme, fait irruption dans la bijouterie de Franck, son ex complice qu'il retient en otage. Dans un premier temps, il ne lui montre son visage, et au fil de la conversation, il decouvre que Franck le meprise, mais qu'il le voit aussi comme un homo, incapable d'etre pere . Leon, fait remarquer a Franck, que ceux qui ont plus de difficultes avec les gays refoulent leurs propres pulsions homosexuelles. Apres une nuit passee ensemble, Franck se retrouve seul dans la bijouterie, en calecon, menotte a un radiateur sur lequel, se trouve une boite de preservatif. Leon surgit, il est alle chercher des croissants et des fleurs et il l'appelle mon cheri.

In his writing on the 'mirror stage', the psychoanalytic theorist Jacques Lacan describes the female body as lacking: a mere symptom of man, an object constructed by male desire. However, what happens if the woman in art follows Jean Baudrillard's advice to 'swallow the mirror', and is made real? What if the beautiful is inverted and becomes ugly; and the ugly becomes beautiful? These are the fundamental questions Basia Sliwinska poses in this important new enquiry into gender identity and the politics of vision in contemporary women's art. Through an innovative discussion of the metaphor of the mirror, or looking-glass, Sliwinska reveals how the post-1989 practices of woman artists from both sides of the former Iron Curtain - such as Marina Abramovic, Joanna Rajkowska, Lora Hristova, Jess Dobkin, Natalia LL, Sedzia Glowny and SZ-ZS - go beyond gender binaries and instead embrace otherness and difference. She makes a refreshing, radical intervention into art theory and cultural studies by offering concepts such as 'the mirror' and 'genderland' (inspired by Alice's 'Wonderland') as critical tools with which we can analyse and explain recent developments in women's art.

Drawing together all kinds of writing about and around Live Art, The Live Art Almanac is both a useful resource and a great read for artists, writers, students and others interested in the field of interdisciplinary, performance-based art. The Live Art Almanac Volume 4 is? a collection of 'found' writings about and around Live Art that were originally published, shared, sent, spread and read between January 2012 and December 2014. Selected through recommendations and an open call for submissions, Volume 4 reflects the dynamic, international contexts that Live Art and radical performance-based practices occupy. Live Art is experiencing a huge ?surge in interest with major museums embracing this disparate area of practice, formerly cult artists becoming household names, and everyone from Shia LaBeouf, Lady Gaga and Jay Z trying to get in on the action. Reflecting the diversity of approaches and key developments from the last few years, Volume 4 is grouped into seven loosely themed sections: Locating Performance; Performance Under Attack; Speaking Up/Speaking Out; Show Me the Money; High Art in Low Places; Reviews; and Dearly Departed. This volume includes writings by,? and about: Ai Weiwei, Pussy Riot,?Tim Etchells, Karen Finley, Vaginal Davis, Ann Magnuson, Shaheen Merali, Jennifer Doyle, Marilyn Arsem, Guy Brett, Nigel Charnock, Claire Bishop, Bryony Kimmings, Matthew Barney, Coco Fusco, Stuart Hall, Miley Cyrus, Petr Pavlensky, Reverend Billy, Ron Athey, Mike Kelley, Oreet Ashery, CHRISTEENE, Marcia Farquhar, Morgan Quaintance, Adrian Howells, Amelia Abraham, Brian Boucher, Rose Finn-Kelcey, Mat Fraser, Jose Esteban Munoz, Kembra Pfahler, Hennessy Youngman, Joan Rivers, Mykki Blanco, Monica Ross, Wu Tsang, boychild, Wendy Houstoun, the vacuum cleaner and many more. The Live Art Almanac Volume 4 is published by Live Art Development Agency and Oberon Books.

Pourquoi Nue ? Quand la perversion devient une forme de communication ? Quand la perversion masque l'amour ... Comment lire et que lit-on chez l'autre, en l'autre, de l'autre ? Alors qu'il a rencontre de nombreuses vendeuses et qu'il lui suffirait d'invoquer l'absence de qualification pour le poste, Steve Carlton, bijoutier repute, ne parvient pas a decoder les raisons occultes qui lui interdisent d'ecarter la candidature d'Aline Deville jeune femme rustre, mal habillee et sans formation qui s'est presentee devant lui pour le poste de vendeuse qui vient de se liberer. Malgre l'intervention de son adjointe defavorable a la jeune femme, Steve laisse Aline aller au bout de ses arguments, ce qui ne tarde pas a lui attirer les foudres de la direction generale aupres de laquelle Annie, l'adjointe de Steve va se plaindre. Entre la nouvelle recrue et Steve s'installe une forme de connivence qui le meduse dans un premier temps et qui comme pour lutter contre une mort virtuelle, un jeu de miroirs figes, le pousse a devenir quelqu'un d'autre.

Among other things, Phil Smith proposes: * An unravelling of psychogeography from its early roots, assessing its contribution to the state of the walking arts, and looking forwards/around to what might come next. * a partial mapping of the 'evolution' of walking that looks at 'stages' in that evolution. * a helicopter view that allows walking artist/practitioners to place themselves in historical and artistic context. * important new ideas about abusive semi-public spaces (in the wake of scandals in the UK and elsewhere involving public figures, the church and others) - suggesting how radical walking can act against 'the spectacle' and power. * a compelling theory about romanticism and the postmodern in relation to walking. * a World Brain for walking.# * strategies, tactics and a full manifesto for Radical Walking.

Homosexualite feminine, tolerance, femmes, amour... Injustement condamnee, Laura en cavale, cagoulee et armee, fait irruption dans la bijouterie de Cindy, son ex complice qu'elle retient en otage. Dans un premier temps, elle ne lui montre pas son visage, et au fil de la conversation, elle decouvre que Cindy, non seulement la prend pour une idiote, mais qu'elle la voit aussi comme une homo, incapable d'etre mere. Laura, fait remarquer a Cindy, que celles qui ont plus de difficultes avec les gays refoulent leurs propres pulsions homosexuelles. Apres une nuit passee ensemble, Cindy se retrouve seule dans la bijouterie, en nuisette, menottee a un radiateur sur lequel, se trouve une boite de preservatif. Laura surgit, elle est allee chercher des croissants et des fleurs et elle l'appelle ma cherie. Pour Cindy, c'est insupportable.

Mot bo mon nghe thuat xuat phat tu trong nhan gian, voi buoc di khoi dau o Nam Ky Luc Tinh, goi la "ca-ra-bo," sau do ngay mot toa rong di khap 3 mien dat nuoc. Dong thoi ten goi cai luong cung duoc thien ha, nguoi doi mac nhien chap nhan luon cho den ngay hom nay. Cai luong khong dung lai o trong nuoc, ma da theo chan nguoi Viet di Mien di Lao phuc vu dong bao xa xu. Tiep do thi di Phap cung cac nuoc Au Chau, vat u nam 1975 thi cai luong hien dien o Hoa Ky. (trich loi noi dau)

This book analyzes the role of the theatrical simpleton in the pasos of the sixteenth-century playwright Lupe de Rueda, in Mario Moreno's character "Cantinflas," and in the esquirol of the 1960s Actos of the Teatro Campesino. Spanning multiple regions and time periods, this book fills an important void in Spanish and theatrical studies.

Marat-Sade es tal vez la pieza teatral mas apasionante y compleja del todo el Siglo XX. Su aparicion, a mediados de los anos 60s, escrita por el aleman Peter Weiss y llevada a escena por el ingles Peter Brook, revoluciono el Teatro mundial, haciendo uso de todos los criterios esteticos y conceptuales que hasta ese momento se habian desarrollado a lo largo de toda la historia del Teatro. 50 anos despues, el dramaturgo venezolano Ibrahim Guerra escribe una version libre en prosa de acuerdo a su vision hiperrealista del teatro, iniciada con su obra "A 2,50 la Cuba libre" con la que se inicia el Hiperrealismo teatral, convirtiendose en la pieza venezolana mas representada en el mundo, y su vision socio politica del mundo contemporaneo, especialmente, Latinoamericano. Marat-Sade, dada su importancia y trascendencia, es motivo de estudios en todos los centros academicos y de investigacion teatral en el mundo entero.