Bringing together a range of perspectives to examine the full impact of political, socio-economic or psychological experiences of exile, Performing Exile: Foreign Bodies presents an inclusive mix of voices from varied cultural and geographic affiliations. The collected essays in this book focus on live performances that were inspired by living in exile. Chapters blend close critical analysis and ethnography to document and interrogate performances and the contexts that inform them. In a world where exiled populations continue to grow, the role of art to document and engage with these experiences will continue to be essential, and this diverse book offers an important model for understanding the rich body of work being created today. A PDF version of this book is available for free in open access via the OAPEN Library platform, Performing Exile. It has been made available under a Creative Commons Attribution 4.0 International Public License and is part of Knowledge Unlatched.

From June 1992 to March 1995, in the midst of the AIDS crisis in NYC, an extraordinary theatrical collective emerged from the queer underground. Blacklips Performance Cult, initiated by ANOHNI and joined by a cabal of fellow artists, drag queens, punks, nightlife veterans and students, performed a new play every Monday night at 1:00 a.m. at the Pyramid Club on 101 Avenue A. Blacklips never courted mainstream attention. However, the group left a sustaining impression within New York's late night subculture by melding hysterical drag, surreal horror, and disconcerting tenderness. In Blacklips: Her Life and Her Many, Many Deaths, ANOHNI and coeditor Marti Wilkerson lay bare the collective's archives in photographs, scripts, and the assembled ephemera from more than one hundred and twenty original "plays." Featuring images from newly digitized film and video recordings, texts from participants and audience members, and an introduction by Lia Gangitano, this expansive collection introduces to the twenty-first century the short-lived and ruthlessly creative phenomenon that was Blacklips.

Discussions surrounding music and ethical responsibility bring to mind arguments about legal ownership and purchase. Yet the many ways in which we experience music with others are usually overlooked. Musical experience and practice always involve relationships with other people, which can place limitations on how we listen to and act upon music. In Music and Ethical Responsibility, Jeff R. Warren challenges current approaches to music and ethics, drawing upon philosopher Emmanuel Levinas's theory that ethics is the responsibilities that arise from our encounters with other people. Warren examines ethical responsibilities in musical experiences including performing other people's music, noise, negotiating musical meaning, and improvisation. Revealing the diverse roles that music plays in the experience of encountering others, Warren argues that musicians, researchers, and listeners should place ethical responsibility at the heart of musical practices.

Porneia features a selection of works by Eduardo Kac realized in the context of the Porn Art Movement, a vanguard that emerged in 1980 under a military dictatorship in Brazil and which, for two intense years, straddled the line between relentless formal experimentation and the outlying demimonde where boundary-busting gender reinvention took place. Through performances, poetry and visual works, as well as through interventions in daily life, between 1980 and 1982 Kac carried out a radical body-based program that upturned the semiotics of normative pornography at the service of activism and imagination.

What does 'performance theory' really mean and why has it become so important across such a large number of disciplines, from art history to religious studies and architecture to geography? In this introduction Simon Shepherd explains the origins of performance theory, defines the terms and practices within the field and provides new insights into performance's wide range of definitions and uses. Offering an overview of the key figures, their theories and their impact, Shepherd provides a fresh approach to figures including Erving Goffman and Richard Schechner and ideas such as radical art practice, performance studies, radical scenarism and performativity. Essential reading for students, scholars and enthusiasts, this engaging account travels from universities into the streets and back again to examine performance in the context of political activists and teachers, countercultural experiments and feminist challenges, and ceremonies and demonstrations.

In a society where public speech was integral to the decision-making process, and where all affairs pertaining to the community were the subject of democratic debate, the communication between the speaker and his audience in the public forum, whether the law-court or the Assembly, cannot be separated from the notion of performance. Attic Oratory and Performance seeks to make modern Performance Studies productive for, and so make a significant contribution to, the understanding of Greek oratory. Although quite a lot of ink has been spilt over the performance dimension of oratory, the focus of nearly all of the scholarship in this area has been relatively narrow, understanding performance as only encompassing 'delivery' - the use of gestures and vocal ploys - and the convergences and divergences between oratory and theatre. Serafim seeks to move beyond this relatively narrow focus to offer a holistic perspective on performance and oratory. Using examples from selected forensic speeches, in particular four interconnected speeches by Aeschines (2, 3) and Demosthenes (18, 19), he argues that oratorical performance encompassed subtle communication between the speaker and the audience beyond mere delivery, and that the surviving texts offer numerous glimpses of the performative dimension of these speeches, and their links to contemporary theatre.

In 1829 Goethe famously described the string quartet as 'a conversation among four intelligent people'. Inspired by this metaphor, Edward Klorman's study draws on a wide variety of documentary and iconographic sources to explore Mozart's chamber works as 'the music of friends'. Illuminating the meanings and historical foundations of comparisons between chamber music and social interplay, Klorman infuses the analysis of sonata form and phrase rhythm with a performer's sensibility. He develops a new analytical method called multiple agency that interprets the various players within an ensemble as participants in stylized social intercourse - characters capable of surprising, seducing, outwitting, and even deceiving one another musically. This book is accompanied by online resources that include original recordings performed by the author and other musicians, as well as video analyses that invite the reader to experience the interplay in time, as if from within the ensemble.

What does 'performance theory' really mean and why has it become so important across such a large number of disciplines, from art history to religious studies and architecture to geography? In this introduction Simon Shepherd explains the origins of performance theory, defines the terms and practices within the field and provides new insights into performance's wide range of definitions and uses. Offering an overview of the key figures, their theories and their impact, Shepherd provides a fresh approach to figures including Erving Goffman and Richard Schechner and ideas such as radical art practice, performance studies, radical scenarism and performativity. Essential reading for students, scholars and enthusiasts, this engaging account travels from universities into the streets and back again to examine performance in the context of political activists and teachers, countercultural experiments and feminist challenges, and ceremonies and demonstrations.

How To Write Jokes for Fun & Profit This comprehensive joke writing masterclass has been devised for beginners and experienced joke writers alike. The techniques you will learn can be used again and again to write funny and original material for: Stand-up comedy; Speeches; Political satire; Monologues; TV, Stage & radio; Witty articles & blogs; Comedy sketches; Sitcom scripts; Cartoons & Comic-Strips; Business Presentations. You hold in your hands the key to unlocking your inner comedy genius. When you read this book you will discover...* Simple yet powerful ways to write hilarious material on any subject * Insider tricks professionals use to get going and keep going * Where jokes really come from and why this makes writing easier * Techniques for creating simple puns and wordplay for laughs * How to tap into a continuous stream of comedy consciousness * Creative tools such as Joke-Webbing and the Hadron Joke Collider * How to mine newspapers and headlines for topical comedy gold * Ways to take jokes in weird and wonderful directions with surrealism * How to hone your jokes to maximise laughs and minimise memorisation If you want to write comedy of any kind this book is for you...

Discussions surrounding music and ethical responsibility bring to mind arguments about legal ownership and purchase. Yet the many ways in which we experience music with others are usually overlooked. Musical experience and practice always involve relationships with other people, which can place limitations on how we listen to and act upon music. In Music and Ethical Responsibility, Jeff R. Warren challenges current approaches to music and ethics, drawing upon philosopher Emmanuel Levinas's theory that ethics is the responsibilities that arise from our encounters with other people. Warren examines ethical responsibilities in musical experiences including performing other people's music, noise, negotiating musical meaning, and improvisation. Revealing the diverse roles that music plays in the experience of encountering others, Warren argues that musicians, researchers, and listeners should place ethical responsibility at the heart of musical practices.

Devising Theatre and Performance is a hands-on guide for artists, students and teachers of performance at any stage of their practice. It offers a wide range of creative prompts and pathways enriched with critical thinking tools and questions, a hybrid approach Hill and Paris call 'Curious Methods'. This is a welcome addition to the field, created and curated by two experienced artists who have operated at the international interface of academia and professional practice for over three decades. The collection is packed with fun, creative, thoughtful exercises distilled from over twenty years of running interdisciplinary artist workshops and teaching both devising and performance making. As well providing numerous exercises and suggestions for devising, composing and editing original works, this book offers tools for giving and receiving feedback, critical reflection and framing artistic work within academic research contexts. Readers can choose to dip in and out, to follow the book as a course or to work section by section, focusing on organizing principles such as working from the body, working with site, working with objects or performance activism. The book includes a detailed production workbook and a practice-based research workbook you can tailor to your own projects. The 'Curious Methods' approach encourages users to take the time and space their practice deserves while offering tools, nourishment and encouragement and inviting them to take risks beyond their comfort zones. The exercises are carefully described so that they can easily be tested out by readers, and are well contextualized in relation to vivid examples from contemporary performance practice and relevant political contexts. This compelling approach goes beyond many other books on theatre devising, which merely provide performance recipes; they do so by repeatedly highlighting the vital cultural relevance and potential personal impact of the experiments that they invite us to undertake. The primary audience for this important new book will be academics, instructors and students in courses on devised theatre, improvisation, performance art, experimental performance and practice-based research. It will be essential for classroom use, for students of theatre and performance and live art - undergraduate, postgraduate and Ph.D., teachers and all those needing strategies for getting started. It will also appeal to readers from the broader arts, humanities and social sciences who are seeking resources for integrating creative methods into their research.

Making Hip Hop Theatre is the essential, practical guide to making hip-hop theatre. It features detailed techniques and exercises that can guide creatives from workshops through to staging a performance. If you were inspired by Hamilton, Barber Shop Chronicles, Misty, Black Men Walking or Frankenstein: How to Make a Monster, this is the book for you. Covering vocal technique, use of equipment, mixing, looping, sampling, working with venues and dealing with creative challenges, this book is a bible for both new and experienced artists alike. Additionally, with links to online video material demonstrating and elaborating on the exercises included, it offers countless useful tools for teachers and facilitators of drama, music and other creative arts. Alongside this practical guidance is an overview of hip hop history, giving theoretical and historical context for the practice. From documentation of Conrad Murray's major productions, to commentary from leading practitioners including Lakeisha Lynch-Stevens, David Jubb, Emma Rice, Tobi Kyeremateng and Paula Varjack, readers are treated to a detailed insight into the background of hip hop theatre. Edited by scholar Katie Beswick and genre pioneer Conrad Murray, Making Hip Hop Theatre is a vital teaching tool and provides a much-needed account of a burgeoning aspect of contemporary theatre culture.

This book draws upon cognitive and affect theory to examine applications of contemporary performance practices in educational, social and community contexts. The writing is situated in the spaces between making and performance, exploring the processes of creating work defined variously as collaborative, participatory and socially engaged.

Spanning a millennium of musical history, this monumental volume brings together nearly forty leading authorities to survey the music of Western Europe in the Middle Ages. All of the major aspects of medieval music are considered, making use of the latest research and thinking to discuss everything from the earliest genres of chant, through the music of the liturgy, to the riches of the vernacular song of the trouveres and troubadours. Alongside this account of the core repertory of monophony, The Cambridge History of Medieval Music tells the story of the birth of polyphonic music, and studies the genres of organum, conductus, motet and polyphonic song. Key composers of the period are introduced, such as Leoninus, Perotinus, Adam de la Halle, Philippe de Vitry and Guillaume de Machaut, and other chapters examine topics ranging from musical theory and performance to institutions, culture and collections.

In the first comprehensive study of the interactions between fashion, performance and performativity, a group of international experts explore fashion as the ideal 'complex space' - or, in other words, the ideal space where performance and performativity come together, according to the works of seminal theorists Eve Kosofsky Sedgwick and Andrew Parker. Bringing together western and non-western, historical and contemporary case studies and theories, the book explores the magazines, photography, exhibitions, global colonial divides, digital media, and more, which have become key markers of the fashion industry as we know it today. Using existing literature as a springboard and incorporating perspectives from fashion studies, art history, media studies and gender studies, as well as from artists and practitioners, Fashion, Performance, and Performativity is an innovative and essential work for students, scholars and practitioners across multiple disciplines.

Tracing the configuration of the slapstick, destitute Peladita/Peladito and the Pachuca/Pachuco (depicted in flashy zoot suits) from 1928 to 2004, Wild Tongues is an ambitious, extensive examination of social order in Mexican and Chicana/o cultural productions in literature, theater, film, music, and performance art. From the use of the Peladita and the Peladito as stock characters who criticized various aspects of the Mexican government in the 1920s and 1930s to contemporary performance art by Maria Elena Gaitan and Dan Guerrero, which yields a feminist and queer-studies interpretation, Rita Urquijo-Ruiz emphasizes the transnational capitalism at play in these comic voices. Her study encompasses both sides of the border, including the use of the Pachuca and the Pachuco as anti-establishment, marginal figures in the United States. The result is a historically grounded, interdisciplinary approach that reimagines the limitations of nation-centered thinking and reading. Beginning with Daniel Venegas's 1928 novel, Las aventuras de don Chipote o Cuando los pericos mamen, Rita Urquijo-Ruiz's Wild Tongues demonstrates early uses of the Peladito to call attention to the brutal physical demands placed on the undocumented Mexican laborer. It explores Teatro de Carpa (tent theater) in-depth as well, bringing to light the experience of Mexican Peladita Amelia Wilhelmy, whose "La Willy" was famous for portraying a cross-dressing male soldier who criticizes the failed Revolution. In numerous other explorations such as these, the political, economic, and social power of creativity continually takes center stage.

'Roger Kneebone is a legend' Mark Miodownik, author of Stuff Matters 'Fascinating and inspiring' Financial Times 'The pandemic has made the necessity of relying on experts evident to all . . . this is a rich exploration of lifelong learning' Guardian What could a lacemaker have in common with vascular surgeons? A Savile Row tailor with molecular scientists? A fighter pilot with jazz musicians? At first glance, very little. But Roger Kneebone is the expert on experts, having spent a lifetime finding the connections. In Expert, he combines his own experiences as a doctor with insights from extraordinary people and cutting-edge research to map out the path we're all following - from 'doing time' as an Apprentice, to developing your 'voice' and taking on responsibility as a Journeyman, to finally becoming a Master and passing on your skills. As Kneebone shows, although each outcome is different, the journey is always the same. Whether you're developing a new career, studying a language, learning a musical instrument or simply becoming the person you want to be, this ground-breaking book reveals the path to mastery.

In !Presente! Diana Taylor asks what it means to be physically and politically present in situations where it seems that nothing can be done. As much an act, a word, an attitude, a theoretical intervention, and a performance pedagogy, Taylor maps !presente! at work in scenarios ranging from conquest, through colonial enactments and resistance movements, to present moments of capitalist extractivism and forced migration in the Americas. !Presente!-present among, with, and to; a walking and talking with others; an ontological and epistemic reflection on presence and subjectivity as participatory and relational, founded on mutual recognition-requires rethinking and unlearning in ways that challenge colonial epistemologies. Showing how knowledge is not something to be harvested but a process of being, knowing, and acting with others, Taylor models a way for scholarship to be present in political struggles.

The Routledge Dictionary of Contemporary Theatre and Performance provides the first authoritative alphabetical guide to the theatre and performance of the last 30 years. Conceived and written by one of the foremost scholars and critics of theatre in the world, it literally takes us from Activism to Zapping, analysing everything along the way from Body Art and the Flashmob to Multimedia and the Postdramatic. What we think of as 'performance' and 'drama' has undergone a transformation in recent decades. Similarly how these terms are defined, used and critiqued has also changed, thanks to interventions from a panoply of theorists from Derrida to Ranciere. Patrice Pavis's Dictionary provides an indispensible roadmap for this complex and fascinating terrain; a volume no theatre bookshelf can afford to be without.

The Routledge Dance Studies Reader has been expanded and updated, giving readers access to thirty-seven essential texts that address the social, political, cultural, and economic impact of globalization on embodiment and choreography. These interdisciplinary essays in dance scholarship consider a broad range of dance forms in relation to historical, ethnographic, and interdisciplinary research methods including cultural studies, reconstruction, media studies, and popular culture. This new third edition expands both its geographic and cultural focus to include recent research on dance from Southeast Asia, the People's Republic of China, indigenous dance, and new sections on market forces and mediatization. Sections cover: Methods and approaches Practice and performance Dance as embodied ideology Dance on the market and in the media Formations of the field. The Routledge Dance Studies Reader includes essays on concert dance (ballet, modern and postmodern dance, tap, kathak, and classical khmer dance), popular dance (salsa and hip-hop), site-specific performance, digital choreography, and lecture-performances. It is a vital resource for anyone interested in understanding dance from a global and contemporary perspective.

a game-changer, a must-read for scholars, students and artists alike Tom Finkelpearl

At a time when art world critics and curators heavily debate the social, and when community organizers and civic activists are reconsidering the role of aesthetics in social reform, this book makes explicit some of the contradictions and competing stakes of contemporary experimental art-making.

Social Works is an interdisciplinary approach to the forms, goals and histories of innovative social practice in both contemporary performance and visual art. Shannon Jackson uses a range of case studies and contemporary methodologies to mediate between the fields of visual and performance studies. The result is a brilliant analysis that not only incorporates current political and aesthetic discourses but also provides a practical understanding of social practice.