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.

Since 2010 we have witnessed new ways of assembling, which have made the word "democracy" sound important again. These practices may not have led to the political changes we had hoped for. Nevertheless, we are convinced of their importance. This book wants to acknowledge them as a starting point for a new art of being many: The "many" invoke new concepts of collectivity by renegotiating their modes of participation and (self-)presentation and by rewriting rhetorical, choreographical, and material scripts of assembling. This volume is inspired and informed by the square-occupations and neighborhood assemblies of the "real democracy" movements as well as by recent explorations of the assembly form in performance art and participatory theatre.

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.

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.

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.'

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.

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.

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.

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."