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Curating Dramaturgies investigates the transformation of art and
performance and its impact on dramaturgy and curatorship.
Addressing contexts and processes of the performing arts as
interconnecting with visual arts, this book features interviews
with leading curators, dramaturgs and programmers who are at the
forefront of working in, with, and negotiating the daily practice
of interdisciplinary live arts. The book offers a view of praxis
that combines perspectives on theory and practice and looks at the
way that various arts institutions, practitioners and cultural
agents have been working to change the way that art and performance
have developed and experienced by spectators in the last decade.
Curating Dramaturgies argues that cultural producers and scholars
are becoming more cognizant of this overlapping and transforming
field. The introductory essay by the editors explores the rise of
interdisciplinary live arts and its ramifications in cultural and
political terms. This is further elaborated in the interviews with
15 diversely placed arts professionals who are at the forefront of
rethinking and consolidatingthe ever-evolving field of the visual
arts and performance.
Curating Dramaturgies investigates the transformation of art and
performance and its impact on dramaturgy and curatorship.
Addressing contexts and processes of the performing arts as
interconnecting with visual arts, this book features interviews
with leading curators, dramaturgs and programmers who are at the
forefront of working in, with, and negotiating the daily practice
of interdisciplinary live arts. The book offers a view of praxis
that combines perspectives on theory and practice and looks at the
way that various arts institutions, practitioners and cultural
agents have been working to change the way that art and performance
have developed and experienced by spectators in the last decade.
Curating Dramaturgies argues that cultural producers and scholars
are becoming more cognizant of this overlapping and transforming
field. The introductory essay by the editors explores the rise of
interdisciplinary live arts and its ramifications in cultural and
political terms. This is further elaborated in the interviews with
15 diversely placed arts professionals who are at the forefront of
rethinking and consolidatingthe ever-evolving field of the visual
arts and performance.
The Methuen Drama Companion to Performance Art offers a
comprehensive guide to the major issues and interdisciplinary
debates concerning performance in art contexts that have developed
over the last decade. It understands 'performance art' as an
institutional, cultural, and economic phenomenon rather than as a
label or object. Following the ever-increasing institutionalization
and mainstreaming of performance and its methods of display,
representation, and mediation in the wider cultural sphere, the
book's chapters identify a marked change in the economies and labor
practices surrounding performance art and its institutional
curating and presenting practices, reflective of an advanced stage
of capitalism that approaches art production in tandem with event
production. Embracing what we perceive to be the 'oxymoronic
status' of performance art-where it is simultaneously precarious
and highly profitable-the essays in this book map the myriad
gestures and radical possibilities of this extreme contradiction.
The Companion activates an interdisciplinary perspective to better
attend to performance art's legacies and its current practices. It
brings together specially commissioned essays from leading
innovative scholars from a wide range of approaches including art
history, visual and performance studies, dance and theatre
scholarship in order to provide a non-hierarchical merging of the
disciplines within and between the humanities. It provides ten
methodological directions that examine possibilities of
transformative change-the core of performance art's transgressive
radical legacy. The book also includes a section on new directions
and resources devoted to performance art. The chapters will thus
provide multifocal perspectives on recent research trends to offer
an array of intertwined methodologies.
The Methuen Drama Companion to Performance Art offers a
comprehensive guide to the major issues and interdisciplinary
debates concerning performance in art contexts that have developed
over the last decade. It understands performance art as an
institutional, cultural, and economic phenomenon rather than as a
label or object. Following the ever-increasing institutionalization
and mainstreaming of performance, the book's chapters identify a
marked change in the economies and labor practices surrounding
performance art, and explore how this development is reflective of
capitalist approaches to art and event production. Embracing what
we perceive to be the 'oxymoronic status' of performance art-where
it is simultaneously precarious and highly profitable-the essays in
this book map the myriad gestures and radical possibilities of this
extreme contradiction. This Companion adopts an interdisciplinary
perspective to present performance art's legacies and its current
practices. It brings together specially commissioned essays from
leading innovative scholars from a wide range of approaches
including art history, visual and performance studies, dance and
theatre scholarship in order to provide a comprehensive and
multifocal overview of the emerging research trends and
methodologies devoted to performance art.
Off Sites: Contemporary Performance beyond Site-Specific rethinks
current definitions of "site-specific performance"-a genre of
theatre that adopts spaces outside of traditional theatre buildings
and uses the experience of space, place, and situation as an
integral component to the structure and content of a theatrical
work. This book looks at key productions of artists working in this
genre, including Private Moment by David Levine and Geyser Land,
conceived and directed by video artist Mary Ellen Strom and
choreographer Ann Carlson. This incredibly rich and vital part of
theatre in the past several decades has become diverse enough that
the term "site-specific" has ceased to adequately describe it.
Contextualizing site-specific practices in both visual and
performing arts discourses, author Bertie Ferdman traces the
evolution of that term from an experimental staging practice to an
engaged situational event. Substituting the term "off-site," she
illustrates the ways in which a new generation of artists have
challenged the disciplinary frameworks of site-specific theatre.
She focuses on five distinct ways in which these artists do that:
1) blurring the traditional boundaries between the fictional and
the real; 2) changing how the audience and actor interact with each
other and whether they are physically together or apart; 3)
fabricating sites from physically bound, conceptually constructed,
or virtual spaces; 4) establishing live situations in real vs.
fiction; and 5) challenging our preconceived notions of time and
space. The first chapter outlines the book's primary goals, traces
the genealogy of site-based work through the twentieth and
twenty-first centuries, and presents the theoretical groundwork for
the book. Each subsequent chapter focuses on a particular type of
"off-site": Disciplinary Sites, Spectator Sites, Temporal Sites,
Urban Sites, and contains several case studies. Main questions
asked by this study include: How are artists and performances
engaging with site? What sites do contemporary theatre practices
engender? How does live performance negotiate such sites?
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