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.

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 Dublin,1745-1820: A Calendar of Performances is the first comprehensive, daily compendium of more than 18,000 performances that took place in Dublin's many professional theatres, music halls, pleasure gardens, and circus amphitheatres between Thomas Sheridan's becoming the manager at Smock Alley Theatre in 1745 and the dissolution of the Crow Street Theatre in 1820. The daily performance calendar for each of the seventy-five seasons recorded here records and organizes all surviving documentary evidence pertinent to each evening's entertainments, derived from all known sources, but especially from playbills and newspaper advertisements. Each theatre's daily entry includes all preludes, mainpieces, interludes, and afterpieces with casts and assigned roles, followed by singing and singers, dancing and dancers, and specialty entertainments. Financial data, program changes, rehearsal notices, authorship and premiere information are included in each component's entry, as is the text of contemporary correspondence and editorial contextualization and commentary, followed by other additional commentary, such as the many hundreds of printed puffs, notices, and performance reviews. In the cases of the programs of music halls, pleasure gardens, and circuses, the playbills have generally been transcribed verbatim. The calendar for each season is preceded by an analytical headnote that presents several categories of information including, among other things, an alphabetical listing of all members of each company, whether actors, musicians, specialty artists, or house servants, who are known to have been employed at each venue. Limited biographical commentary is included, particularly about performers of Irish origin, who had significant stage careers but who did not perform in London. Each headnote presents the seasons's offerings of entertainments of each theatrical type (prelude, mainpiece, interlude, afterpiece) analyzed according to genre, including a list of the number of plays in each genre and according to period in which they were first performed. The headnote also notes the number of different plays by Shakespeare staged during each season and gives particular attention to entertainments of "special Irish interest." The various kinds of benefit performance and command performances are also noted. Finally, this Calendar of Performances contains an appendix that furnishes a season-by-season listing of the plays that were new to the London patent theatres, and, later, of the important "minors." This information is provided in order for us to understand the interrelatedness of the London and Dublin repertories.

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.

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.

A transdisciplinary approach to practice-as-research, complete with its own elaborate theory of practice and a set of four multi-year-performance research projects through which the theory plays out. Its methodology is at times ethnographic as Henry Daniel deftly inserts himself and his Caribbean West African ancestry into a series of complex cortical and geographic maps, which become choreographic in every sense of the term. The central argument in the book is based on a claim that human beings are cognitively embodied through their own lived experiences of movement through space and time; the spaces we inhabit and the practices we engage in are documented through cortical and cartographic maps. In short, as we inhabit and move through spaces our brains organise our experiences into unique cortical and spatial maps, which eventually determine how we see and deal with, i.e., 'become' subjects in a world that we also help create. The argument is that through performance, as a re-cognising and re-membering of these movements, we can claim the knowledge that is in the body as well as in the spaces through which it travels. To demonstrate how the brain organises our experiences of the world according to cartographic (graphically mapping procedures) and cortical (motor, sensory and visual functions) mapping and exploring the impact of this mapping to choreographic practice, considering how maps might be disrupted or altered by change of circumstances. This is illustrated through scientific, creative and reflective approaches to exploring neurological process of embodied experiences, as well as the analysis of projects that have utilized this practice thus far. Audience will include Dance and Performance Studies Scholars; Dancers and Choreographers; Undergraduate and Advanced Students; Researchers

Critics and fans alike often mistake theatrical song and dance as evoking a sweeping sense of simplicity, heteronormativity, and traditionalism. Nothing drove home this cultural misunderstanding for Kelly Kessler as when a relative insisted she watch the Clint Eastwood-Lee Marvin cinematic transfer of Paddy Chayefsky's Paint Your Wagon (1969) with a young niece and nephew because it was a 'sweet movie.' In the relative's memory, good old-fashioned singing and dancing-matched with the power of an assumed hegemonic embrace of social norms-far outweighed the whoremongering, alcoholism, wife-selling, and what appears to be narratively sanctioned polyamory. This collection seeks to trouble such an over-idealized impression of musical theatre. Tackling Rockettes, divas, and chorus boys; hit shows such as Hamilton and Spring Awakening; and lesser-known but ground-breaking gems like Erin Markey's A Ride on The Irish Cream and Kirsten Childs's Bella: An American Tall Tale. Gender, Sex and Sexuality in Musical Theatre: He/She/They Could Have Danced All Night takes a broad look at musical theatre across a range of intersecting lenses such as race, nation, form, dance, casting, marketing, pedagogy, industry, platform-specificity, stardom, politics, and so on. This collection assembles an amazing group of established and emergent musical theatre scholars to wrestle with the complexities of the gendered and sexualized musical theatre form. Gender and desire have long been at the heart of the musical, whether because 'birds and bees' (and educated fleas') were doing it, a farm girl simply couldn't 'say no,' or one's 'tits and ass' were preventing them from landing the part. An exciting and vibrant collection of articles from the archives of Studies in Musical Theatre, with contributions from Ryan Donovan, Michele Dvoskin, Sherrill Gow, Jiyoon Jung, David Haldane Lawrence, Stephanie Lim, Dustyn Martinich, Adrienne Gibbons Oehlers, Deborah Paredez, Alejandro Postigo, George Rodosthenous, Janet Werther, Stacy Wolf, Elizabeth L. Wollman, Bryan Vandevender and Kelly Kessler, brought together with a newly commissioned piece by Jordan Ealey. All set against the backdrop of Kelly Kessler's scene-setting introduction. Excellent potential for classroom and course use on undergraduate and graduate courses in theatre studies, musical studies, women's and gender studies.

Insightful, provocative and now in paperback, The Cultural Impact of RuPaul's Drag Race is a collection of original material that goes beyond simple analysis of the show and examines the profound effect that RuPaul's Drag Race has had on the cultures that surround it: audience cultures, economics, branding, queer politics and all points in between. Once a cult show marketed primarily to gay men, Drag Race has drawn both praise and criticism for its ability to market itself to broader, straighter and increasingly younger fans. The show's depiction of drag as both a celebrated form of entertainment and as a potentially lucrative career path has created an explosion of aspiring queens in unprecedented numbers, and had a far-reaching impact on drag as both an art form and a career. Contributors include scholars based in the United Kingdom, the United States, Canada and South Africa. The contributions are interdisciplinary, as well as international. The editor invited submissions from scholars in theatre and performance studies, English literature, cultural anthropology, media studies, linguistics, sociology and marketing. What he envisaged was an examination of the wider cultural impacts that RuPaul's Drag Race has had; what he received was a rich and diverse engagement with the question of how Drag Race has affected local, live cultures, fan cultures, queer representation and the very fabric of drag as an art form in popular cultural consciousness. This original collection, with its variety of topics and approaches, is a critical appraisal of RuPaul's Drag Race at an important point of the programme's run, as well as of the growing industries around RPDR, including DragCon and drag queens' post-show careers in the on- and offline world. Primarily of interest to students, scholars and researchers in media and communication studies, gender and sexuality studies, popular culture, queer theory, LGBTQ history, media studies, and fan studies. Will also appeal to fans of the series.

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.

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."

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.

Live Art in LA: Performance Art in Southern California , 1970-1983 documents and critically examines one of the most fecund periods in the history of live art. The book forms part of the Getty Institute's Pacific Standard Time initiative - a series of exhibitions, performance re-enactments and research projects focused on the greater Los Angeles area. This extraordinary volume, beautifully edited by one of the leading scholars in the field, makes vivid the compelling drama of performance history on the west coast. Live Art in LA: moves lucidly between discussions of legendary figures such as Judy Chicago and Chris Burden, and the crucial work of less-celebrated solo artists and collectives; examines the influence of key institutions, particularly Los Angeles Contemporary Exhibitions and the California Institute of the Arts - and the Feminist Art Programme established at the latter; features original and incisive essays by Peggy Phelan and Amelia Jones, and eloquent contributions by Michael Ned Holte, Suzanne Lacy and Jennifer Flores Sternad. Combining cutting-edge research with over 100 challenging and provocative photographs and video stills, Live Art in LA represents a major re-evaluation of a crucial moment in performance history. And, as performance studies becomes ever more relevant to the history of art, promises to become a vital and enduring resource for students, academics and artists alike.

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

In Ulrike Flaig's art practice, the media of drawing, installation, performance, and experimental music overlap. She describes her works, among other things, as making images audible - and thus as extensions of the art cosmos. Ulrike Flaig translates paintings into installations set to music by making the structure of a painting the basis for notations. The artist's analytical view and reflection on art practices play a major role here. In her research, she is as concerned with musical icons at the interface of art and music as she is with literature and philosophy. The publication conveys numerous cross-references and thoughts of the artist and shows a further development of her statements.

Offering historical, social, and artistic context for some of the most influential artists and filmmakers from the 1960s to the present day, this timely book looks at three filmic techniques-appropriation, documentary film, and montage-and how they confront the viewer with pieces of reality within a particular "frame." Including previously unpublished material, Truth features a selection of interviews with and essays about twenty-four artists and filmmakers, among them Bruce Conner, Chick Strand, Jean-Marie Straub and Daniele Huillet, Pratibha Parmar, and Dara Birnbaum, whose work incorporates one or more of these techniques. Rather than proposing similarities among these artists' practices, the book explores the varied ways that their work examines truth, meaning, and form as a way of coming to terms with reality. Distributed for the Dallas Museum of Art Exhibition Schedule: Dallas Museum of Art (10/22/17-01/28/18)

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.