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.

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)

Personen aus dem Roman "Das neue Manifest" ISBN 978-3-86991-398-8 und dem Roman "G.R.A.S." ermitteln gegen den Autor. Doch sie werden entdeckt. Gemeinsam beratschlagen sie, wie die Geschichte zuende gefuhrt werden konnte.

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.

"Programme Notes: Case Studies For Locating Experimental Theatre" is a collection of commissioned essays, case studies and interviews reflecting the exciting and complex relationships between 'mainstream' stages and 'experimental' theatre practices.
The first edition of "Programme Notes," published in 2007, featured contributions by Lyn Gardner, Tim Etchells, Neil Bartlett, Stella Hall, John McGrath, Alan Rivett, Mark Borkowski, Rose Fenton, Brian Logan, Lucy Neal, Keith Khan, Simon Casson, Louise Jeffreys, Judith Knight and Toni Racklin.
This revised and expanded edition includes the original contributions whilst illustrating some of the seismic shifts that have taken place across the theatre landscape of the UK since 2007 through new profiles of the work of Manchester International Festival, National Theatre Scotland, BAC (Battersea Arts Centre) and Forest Fringe. New contributors: Marina Abramovic, Alex Poots, Amanda Coogan, Vicky Featherstone, Mary Brennan, David Micklem, David Jubb, Andy Field and Deborah Pearson.
"This small, cutely presented volume may turn out to be the most significant British Theatre book published this year." Plays International on the first edition, 2007

One of the first collections of articles on performance studies, this reader maps the field for those new to the discipline and shows the way in which a variety of events and rituals may be read as performance. The articles included help clarify what constitutes performance studies, as well as providing a valuable introduction to the many theoretical perspectives, including feminist, queer, post-structuralist, and post-colonial theories, which are used to read performance in culture. Acts considered range from those that can be easily identified as performance, such as the strip show, to those that are more theoretically complex, such as performative speech.

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

Consuming Scenography offers an insight into contemporary scenographic practice beyond the theatre. It explores the ways in which scenography is used to create a global cultural impact and accelerate profits in the site-specific context of themed shopping malls. It analyses the effect of the architectural, aesthetic, spatial, material and sensory aspects of design through their performative encounters with consumers in order to offer a better understanding of performance design. In the first part the author explores the spatial seduction of an enclosed market space and traces the origins of scenographic temporality in permanent architectonic spaces for trade and commerce, from ancient Greek and Roman roofed markets and Oriental bazaars to 19th-century arcades and department stores to modern-day shopping malls.The second section addresses the site-specific theatricality of the shopping mall, considering the use of performative aspects of scenography in the creation of corporate identity. It engages with production and consumption of experience in themed shopping malls, using historical, aesthetical, social and political lenses. In the final section, the author intertwines fluidity of market changes with flexibility of scenographic matter, drawing attention to both contradictions and prospects that merging of scenography and architecture can bring along. Considering a variety of case studies of themed shopping malls, including the Ibn Battuta Mall in Dubai, Terminal 21 in Bangkok, the Villaggio in Doha and Montecasino in Johannesburg, as well as further examples from Europe, USA and Asia - this book provides a wide-ranging critical examination of the ways in which scenographic thinking and practices are exploited in wider cultural contexts for impact, branding, and higher profits.

The works of interdisciplinary artist Kira O'Reilly use the uncertain boundaries of bodies as the starting point for their enquiry. Specifically, O'Reilly asks what kind of societies become possible in collaborations across species, organisms and bodies, and she explores these questions through sustained and experimental engagements with politics, biopolitics, change (social, corporeal, chemical, reactive) and the complex relations between the human and the non-human. This book is the first to offer an in-depth engagement with her many works across diverse formats. Bringing together writings by major artists and thinkers, such as Marina Abramovic, Shannon Bell and Tracey Warr, alongside extensive documentation of the artist's work from two decades of practice, the contributions engage with such topics as ideas of performance, feminist political aesthetics, biotechnical practices, image-making and the intersections of humans and animals. The book also includes interviews, archive material and O'Reilly's own writings. Publication Forum (Finland) lists this book as a Level 2 publication, where 'the highest-level publications are directed as a result of extensive competition and demanding peer-review'. For Intellect's full listings in this catalogue, please click here.

The historical roots, key practitioners, and artistic, theoretical, and technological trends in the incorporation of new media into the performing arts. The past decade has seen an extraordinarily intense period of experimentation with computer technology within the performing arts. Digital media has been increasingly incorporated into live theater and dance, and new forms of interactive performance have emerged in participatory installations, on CD-ROM, and on the Web. In Digital Performance, Steve Dixon traces the evolution of these practices, presents detailed accounts of key practitioners and performances, and analyzes the theoretical, artistic, and technological contexts of this form of new media art. Dixon finds precursors to today's digital performances in past forms of theatrical technology that range from the deus ex machina of classical Greek drama to Wagner's Gesamtkunstwerk (concept of the total artwork), and draws parallels between contemporary work and the theories and practices of Constructivism, Dada, Surrealism, Expressionism, Futurism, and multimedia pioneers of the twentieth century. For a theoretical perspective on digital performance, Dixon draws on the work of Philip Auslander, Walter Benjamin, Roland Barthes, Jean Baudrillard, and others. To document and analyze contemporary digital performance practice, Dixon considers changes in the representation of the body, space, and time. He considers virtual bodies, avatars, and digital doubles, as well as performances by artists including Stelarc, Robert Lepage, Merce Cunningham, Laurie Anderson, Blast Theory, and Eduardo Kac. He investigates new media's novel approaches to creating theatrical spectacle, including virtual reality and robot performance work, telematic performances in which remote locations are linked in real time, Webcams, and online drama communities, and considers the "extratemporal" illusion created by some technological theater works. Finally, he defines categories of interactivity, from navigational to participatory and collaborative. Dixon challenges dominant theoretical approaches to digital performance-including what he calls postmodernism's denial of the new-and offers a series of boldly original arguments in their place.

Want to learn valuable secrets about making your own low-budget films? This book is at once Tori and Matthew Butler-Hart's personal account of their ten-year adventure running their own film production company and a manual loaded with tips on how to survive-and thrive-in the modern independent movie business. Since founding Fizz and Ginger Films in 2009, Tori and Matthew have spent the past decade writing, producing, directing, line producing, and promoting both their own and other people's films. In Full to the Brim with Fizz, Ginger and Fierce Determination, the duo looks back and takes stock of what they've learned in their sometimes turbulent creative journey. Rather than a step-by-step guide of how-tos, Tori and Matthew offer real-life lessons in making independent feature films, including useful tips a pitfalls to avoid. From the very first stages of writing a screenplay to securing financing, producing and shooting the movie, post-production and distribution-each area is explored and explained through anecdotes and interviews with other professionals involved in the industry, including Sir Ian McKellen, Stephen Fry, and legendary producer Margaret Matheson. Full to the Brim with Fizz, Ginger and Fierce Determination is a must-read for any young actor, writer, director, producer, or all of the above, hoping to tell their own stories through the magical art of moving pictures.

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

Shortlisted for the Millia Davenport Publication Award Experimental Fashion traces the proliferation of the grotesque and carnivalesque within contemporary fashion and the close relation between fashion and performance art, from Lady Gaga's raw meat dress to Leigh Bowery's performance style. The book examines the designers and performance artists at the turn of the twenty-first century whose work challenges established codes of what represents the fashionable body. These innovative people, the book argues, make their challenges through dynamic strategies of parody, humour and inversion. It explores the experimental work of modern designers such as Georgina Godley, Bernhard Willhelm, Rei Kawakubo and fashion designer, performance artist, and club figure Leigh Bowery. It also discusses the increased centrality of experimental fashion through the pop phenomenon, Lady Gaga.

The extraordinary life and death-defying work of one of the most important and pioneering performance artists in contemporary art. When Marina Abramovic Dies examines the extraordinary life and death-defying work of one of the most pioneering artists of her generation-and one who is still at the forefront of contemporary art today. This intimate, critical biography chronicles Abramovic's formative and until now undocumented years in Yugoslavia, and tells the story of her partnership with the German artist Ulay-one of the twentieth century's great examples of the fusion of artistic and private life. In one of many long-durational performances in the renewed solo career that followed, Abramovic famously lived in a New York gallery for twelve days without eating or speaking, nourished only by prolonged eye contact with audience members. It was here, in 2002, that author James Westcott first encountered her, beginning an exceptionally close relation between biographer and subject. When Marina Abramovic Dies draws on Westcott's personal observations of Abramovic, his unprecedented access to her archive, and hundreds of hours of interviews he conducted with the artist and the people closest to her. The result is a unique and vivid portrait of the charismatic self-proclaimed "grandmother of performance art."

Performance art in the West has developed in part as a response to the commercialization of the art object. But what are the roots of performance art in Eastern Europe and Russia, where there was no real art market to speak of? While Western performance artists of the late 20th century aimed to create works that could not be bought or sold, performances in the communist bloc in the absence of an art market, more often took the form of social critique. Instead of creations that questioned what the art object is, their work often related to local issues within the context of late- or post-socialism. By placing these performances both within a local and international context, this book pinpoints the nuances between performance art East and West.
Post-Socialist performance art in Russia, Poland, and Latvia is examined for the first time as agent and chronicle of the transition from Soviet states to free-market democracies. Drawing upon previously unpublished sources and exclusive interviews with the artists themselves, Amy Bryzgel explores the spontaneous theater of the period from Oleg Kulik's Russian Dog performances to Miervaldis Polis's The Bronze Man and Vladislav Mayhshev's Monroe. Bryzgel demonstrates that performativity in Eastern Europe went beyond the modernist critique to express ideas outside the official discourse, shocking and empowering the citizenry in the truest avant-garde tradition. Performing the East open the way to an urgent reassessment of the history, function, and influence of performance art.

Theatre in Pieces: politics, poetics and interdisciplinary collaboration is an innovative compilation of seven highly acclaimed productions by key practitioners of non-playwright-driven theatre. Each playtext is reproduced in full and accompanied by extensive notes from members of the original producing theatre. A substantial introduction by Anna Furse provides an overview of the works and contextualises their reading by revealing how a script can emerge from or provoke a collaborative devising process. The works featured include: Hotel Methuselah, Imitating the Dog/Pete Brooks; Don Juan.Who?/Don Juan.Kdo?, Athletes of the Heart; A Girl Skipping, Graeme Miller; Trans-Acts, Julia Bardsley; US, 1966 (with an introduction by Peter Brook); Miss America, Split Britches and 48 Minutes for Palestine, Mojisola Adebayo and Ashtar Theatre.

First, pick up a copy of Rachel Rosenthal s inspiring The DbD Experience; Part manual, part manifesto, part memoir, then head for Los Angeles

FRIDAY - Origins
Arrive at the Doing by Doing workshop to be greeted by Rosenthal, pioneering theatre explorer and your host for the weekend ahead. Explore non-human ways of living and moving. Begin to develop a shared vocabulary with your fellow students through exercises.

SATURDAY - Connections
Continue to connect with the group on an energetic level. Make the journey from Kansas to OZ. Collaborate and create as a group, moving and vocalising without language. Improvise boldly at every step. Treat music, voice, lighting, costume, sets, props and fellow performers as equals.

SUNDAY - Power
Learn to arrive in the moment when you are needed. Engage with transformative processes and take part in the Star Meditation. Understand your own individual power, joining your physical and emotional self. Perform solo improvisations and the Rambler the final, extended culmination of everything that you have learned through the 34 hour experience.

"So perspicuous was Battcock's choice of articles in "Minimal Art that his book has proved to be an exceptionally telling index of the critical discourse of its time. This is the key primary source book--for that matter it remains the key book--on the subject of Minimal Art, a movement that has lately, newly become a topic of consuming interest to many modern art historians, critics, curators and artists."--Anna C. Chave, author of "Mark Rothko: Subjects in Abstraction

"Good criticism of contemporary art movements is both rare and scattered, and readers with access to a wide range of periodicals and catalogue introductions are few. . . Minimal Art is so obviously the most important movement of the 1960s, and equally certainly will continue to be so in the early 1970s, that this anthology will be a valuable compilation of statements by artists and assessments by critics."--David Irwin, "Apollo

This book describes diverse urban planning projects in Turkey, Bahrain, the United Arab Emirates (Dubai and Sharjah) Kuwait, Afghanistan, Albania, Syria and Yemen. One thing in common between these countries is that the author has personally worked on all of these projects, and thus the book is a partial professional autobiography. Each chapter tackles not only a different country but also a different aspect of urban planning and development, as follows: upgrading or improving recent illegal or informal slums, including detailed local planning and strategic planning; urban conservation of Al Muharraq, a historic Gulf city; traditional building construction as a reference point for modern design; urban design of new city centre areas in three prosperous Gulf cities - Kuwait, Dubai and Sharjah; the recreation - post-war - of an urban planning system in Kabul; a historical account of urban planning in the Zog-Mussolini period in Albania, which is contrasted with the currently collapsed system; an account of urban economic regeneration in Syria; and local planning aiming at economic revival in Aden. These essays articulate eight themes: tradition versus modernism; regionalism and identity; the property market in the urban economy; privacy, the family/tribe etc.; arts and crafts, industrialised construction; the impact of the motor car, and urban infrastructure; the courtyard house; and public administration, local politics and corruption. The book will be of interest to urban and regional planners, infrastructure engineers, urban economists, architects, urban managers and local government experts as well as those with an interest in the region itself. The book will be useful as an academic textbook in the region, because it presents a wide range of views of the topic, and a wide spread of countries and backgrounds.

This volume brings together practitioners and theorists of music and sonic art. Contributions explore a wide range of historical, artistic, pedagogical and critical issues from multiple perspectives, emphasizing the continuities and links along a broad spectrum of hearing and listening practices and art-making that use sound.