"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.

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 a 1934 lecture, Marcel Mauss said: "A kind of revelation came to me in hospital. I was ill in New York. I wondered where previously I had seen girls walking as my nurses walked. I had the time to think about it. At last I realised that it was at the cinema. Returning to France, I noticed how common this gait was, especially in Paris; the girls were French and they too were walking in this way. In fact, American walking fashions had begun to arrive over here, thanks to the cinema." Here are the roots of contemporary views of daily-life movement (including walking). We notice people who don't walk normally. We notice ourselves when we don't walk normally. There is, it seems, an intense, invisible pressure to walk normally. Straight is the gait. Call it ambulonormativity. For about 9 months, two walking-authors/artists - Alyson Hallett and Phil Smith - found themselves wrestling with not being able to walk normally. They wrote to one another about it and, amongst other things, reflected on: prostheses waddling Butoh built-up shoes walking in pain bad legs vertigo falling (and fallen) places hubris bad walks scores for falling down walking carefully disappointment. This is their conversation. From it, there emerges an 'Alphabet of Falling', a sustained reflection on the loss of normal capabilities, anecdotes and autobiographical stories, and the beginnings of a larger discussion about srumbling and falling: the pedestrian equivalent of blowing an uncertain trumpet. As the book concludes: "When you next fall, stay down for a while, see what comes. Then, when you get to your feet again, rather than relying on your body's natural approximations of space, choose your steps, not anxiously but in an excited kind of wariness; and, with each pace, a little more undo the 'grounds' that tripped you up."

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.

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.

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.

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.'

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.

"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.

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.

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.