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Books > Arts & Architecture > History of art / art & design styles > From 1900 > Art styles, 1960 - > Performance art
What makes a woman 'bad' is commonly linked to certain 'qualities'
or behaviours seen as morally or socially corrosive, dirty and
disgusting. In Bad Girls, Dirty Bodies, Gemma Commane critically
explores the social, sexual and political significance of women who
are labelled 'bad', sluts or dirty. Through a variety of case
studies drawn from qualitative and original ethnographic research,
she argues that 'Bad Girls' disrupt heterosexual normativity and
contribute new embodied knowledge. From neo-burlesque, sex-positive
and queer performance art, to explicit entertainment and areas of
popular culture; Commane situates 'bad' women as sites of power,
possibility and success. Through the combination of case studies
(Ms T, Empress Stah and RubberDoll, Mouse and Doris La Trine),
Gemma Commane offers a challenge to those who think that sexual,
slutty, bad, and dirty women are not worth listening to.
Significantly, she unpicks the issues generated by women who are
complicit in the subjugation, policing and marginalization of
'other' women, both in popular culture and in sites of subcultural
resistance.
The Cambridge Companion to Shakespeare on Screen provides a lively
guide to film and television productions adapted from Shakespeare's
plays. Offering an essential resource for students of Shakespeare,
the companion considers topics such as the early history of
Shakespeare films, the development of 'live' broadcasts from
theatre to cinema, the influence of promotion and marketing, and
the range of versions available in 'world cinema'. Chapters on the
contexts, genres and critical issues of Shakespeare on screen offer
a diverse range of close analyses, from 'Classical Hollywood' films
to the BBC's Hollow Crown series. The companion also features
sections on the work of individual directors Orson Welles, Akira
Kurosawa, Franco Zeffirelli, Kenneth Branagh, and Vishal Bhardwaj,
and is supplemented by a guide to further reading and a
filmography.
The Cambridge Companion to Shakespeare on Screen provides a lively
guide to film and television productions adapted from Shakespeare's
plays. Offering an essential resource for students of Shakespeare,
the companion considers topics such as the early history of
Shakespeare films, the development of 'live' broadcasts from
theatre to cinema, the influence of promotion and marketing, and
the range of versions available in 'world cinema'. Chapters on the
contexts, genres and critical issues of Shakespeare on screen offer
a diverse range of close analyses, from 'Classical Hollywood' films
to the BBC's Hollow Crown series. The companion also features
sections on the work of individual directors Orson Welles, Akira
Kurosawa, Franco Zeffirelli, Kenneth Branagh, and Vishal Bhardwaj,
and is supplemented by a guide to further reading and a
filmography.
Theatre has engaged with science since its beginnings in Ancient
Greece. The intersection of the two disciplines has been the focus
of increasing interest to scholars and students. The Cambridge
Companion to Theatre and Science gives readers a sense of this
dynamic field, using detailed analyses of plays and performances
covering a wide range of areas including climate change and the
environment, technology, animal studies, disease and contagion,
mental health, and performance and cognition. Identifying
historical tendencies that have dominated theatre's relationship
with science, the volume traces many periods of theatre history
across a wide geographical range. It follows a simple and clear
structure of pairs and triads of chapters that cluster around a
given theme so that readers get a clear sense of the current
debates and perspectives.
Theatre has engaged with science since its beginnings in Ancient
Greece. The intersection of the two disciplines has been the focus
of increasing interest to scholars and students. The Cambridge
Companion to Theatre and Science gives readers a sense of this
dynamic field, using detailed analyses of plays and performances
covering a wide range of areas including climate change and the
environment, technology, animal studies, disease and contagion,
mental health, and performance and cognition. Identifying
historical tendencies that have dominated theatre's relationship
with science, the volume traces many periods of theatre history
across a wide geographical range. It follows a simple and clear
structure of pairs and triads of chapters that cluster around a
given theme so that readers get a clear sense of the current
debates and perspectives.
In Performing Endurance, Lara Shalson offers a new way of
understanding acts of endurance in art and political contexts.
Examining a range of performances from the 1960s to the present,
including influential performance art works by Marina Abramovic,
Chris Burden, Tehching Hsieh, Linda Montano, Yoko Ono, and others,
as well as protest actions from the lunch counter sit-ins of the US
civil rights movement to protest camps in the twenty-first century,
this book provides a formal account of endurance and illuminates
its ethical and political significance. Endurance, Shalson argues,
raises vital questions about what it means to exist as a body that
both acts and is acted upon, from ethical questions about how we
respond to the bodies of others to political questions about how we
live in relation to institutions that shape life in fundamental
ways. In addition, Performing Endurance rethinks how performance
itself endures over time.
Theatre is often said to offer unique insights into the nature of
reality, but this obscures the reality of theatre itself. In Real
Theatre, Paul Rae takes a joined-up approach to the realities of
theatre to explain why performances take the forms they do, and
what effects they have. Drawing on examples ranging from Phantom of
the Opera and Danny Boyle's Frankenstein, to the performances of
the Wooster Group and arthouse director Tsai Ming-liang, he shows
how apparently discrete theatrical events emerge from dynamic and
often unpredictable social, technical and institutional
assemblages. These events then enter a process of cultural
circulation that, as Rae explains, takes many forms: fleeting
conversations, the mercurial careers of theatrical characters and
the composite personae of actors, and high-profile products like
the Hollywood movie Birdman. The result is a real theatre that
speaks of, and to, the idiosyncratic and cumulative experience of
every theatre participant.
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.
The KfW Foundation and the cultural centre Kunstlerhaus Bethanien
are collaborating on a studio programme offering a twelve month
residency in Berlin to young artists from Africa, Latin America and
the Middle East. Verlag Kettler presents the artistic work of the
grant holders in an on-going book series. Matheus Rocha Pitta (born
1980 in Tiradentes, Brazil, lives and works in Rio de Janeiro) has
created a new group of works entitled For the Winners the Potatoes.
At the time of publication, this work an be found at the exhibition
room of Kunstlerhaus Bethanien, as well as in two of Berlin's
underground stations, Hermannplatz and Gesundbrunnen, and in a
showcase at SOX in Berlin's Oranienstrasse. Rocha Pitta's
performative installations at Kunstlerhaus Bethanien and in the
underground stations allow him to interact with the public. He
presents trophies that are made of plastic bags or concrete instead
of gold, silver or bronze, and invites visitors to take along
potatoes as victory trophies. His work deconstructs the concept of
victory and the hierarchy of winners and losers, creating a dense
network of historical references going back to Ancient Greece and
asking fundamental questions about the meaning of gestures, the
community and its value. Rocha Pitta portrays his trophies with a
mocking sense of humour. By connecting glory with mundane, everyday
objects, he aims to subvert the hierarchy of winners and losers and
invites the spectator to rethink the meaning of victory and defeat.
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.
"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.
Reimagines black and brown sensuality to develop new modes of
knowledge production In Sensual Excess, Amber Jamilla Musser
imagines epistemologies of sensuality that emerge from fleshiness.
To do so, she works against the framing of black and brown bodies
as sexualized, objectified, and abject, and offers multiple ways of
thinking with and through sensation and aesthetics. Each chapter
draws our attention to particular aspects of pornotropic capture
that black and brown bodies must always negotiate. Though these
technologies differ according to the nature of their encounters
with white supremacy, together they add to our understanding of the
ways that structures of domination produce violence and work to
contain bodies and pleasures within certain legible parameters. To
do so, Sensual Excess analyzes moments of brown jouissance that
exceed these constraints. These ruptures illuminate multiple
epistemologies of selfhood and sensuality that offer frameworks for
minoritarian knowledge production which is designed to enable one
to sit with uncertainty. Through examinations of installations and
performances like Judy Chicago's The Dinner Party, Kara Walker's A
Subtlety, Patty Chang's In Love and Nao Bustamante's Neapolitan,
Musser unpacks the relationships between racialized sexuality and
consumption to interrogate foundational concepts in psychoanalytic
theory, critical race studies, feminism, and queer theory. In so
doing, Sensual Excess offers a project of knowledge production
focused not on mastery, but on sensing and imagining otherwise,
whatever and wherever that might be.
It's 1992. In a small town in Fife, a girl is busting to get out
into the world and see what's on offer. And an ad in the local
paper declares: Band Seeks Singer. Grunge has just gone global,
scruffy indie kids are inheriting the earth, and a schoolgirl from
Glenrothes is catapulted to a rock star lifestyle as the singer in
a hot new indie band. Touring with Radiohead, partying with Blur,
she was living the dream. Until she wasn't. What Girls Are Made Of
is the true story of Bissett's teenage years, based on her
meticulously detailed, pull-no-punches diaries, which she found
after the death of her father. It's a rollercoaster journey from
the girl she was to the woman she wanted to be: rocketed into
teenage stardom, suddenly dropped by their manager, and then the
following of years of becoming an actor, writer and director.
Described by Miro Magazine as "a glorious mixture of harrowing and
life-affirming messages", the script also includes a play list of
female-led soundtracks, that were played in the production.
Schubert's late music has proved pivotal for the development of
diverse fields of musical scholarship, from biography and music
history to the theory of harmony. This collection addresses current
issues in Schubert studies including compositional technique, the
topical issue of 'late' style, tonal strategy and form in the
composer's instrumental music, and musical readings of the
'postmodern' Schubert. Offering fresh approaches to Schubert's
instrumental and vocal works and their reception, this book argues
that the music that the composer produced from 1822-8 is central to
a paradigm shift in the history of music during the nineteenth
century. The contributors provide a timely reassessment of
Schubert's legacy, assembling a portrait of the composer that is
very different from the sentimental Schubert permeating
nineteenth-century culture and the postmodern Schubert of more
recent literature.
Four of Schumann's great masterpieces of the 1830s - Carnaval,
Fantasiestucke, Kreisleriana and Nachtstucke - are connected to the
fiction of E. T. A. Hoffmann. In this book, John MacAuslan traces
Schumann's stylistic shifts during this period to offer insights
into the expressive musical patterns that give shape, energy and
individuality to each work. MacAuslan also relates the works to
Schumann's reception of Bach, Beethoven, Novalis and Jean Paul, and
focuses on primary sources in his wide-ranging discussion of the
broader intellectual and aesthetic contexts. Uncovering lines of
influence from Schumann's reading to his writings, and reflecting
on how the aesthetic concepts involved might be used today, this
book transforms the way Schumann's music and its literary
connections can be understood and will be essential reading for
musicologists, performers and listeners with an interest in
Schumann, early nineteenth-century music and German Romantic
culture.
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.
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