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Theatre/Archaeology is a provocative challenge to disciplinary practice and intellectual boundaries. It brings together radical proposals in both archaeological and performance theory to generate a startlingly original and intriguing methodological framework.
Theatre/Archaeology is a provocative challenge to disciplinary practice and intellectual boundaries. It brings together radical proposals in both archaeological and performance theory to generate a startlingly original and intriguing methodological framework.
Marking Time: Performance, archaeology and the city charts a
genealogy of alternative practices of theatre-making since the
1960s in one particular city - Cardiff. In a series of five
itineraries, it visits fifty sites where significant events
occurred, setting performances within local topographical and
social contexts, and in relation to a specific architecture and
polity. These sites - from disused factories to scenes of crime,
from auditoria to film sets - it regards as landmarks in the
conception of a history of performance. Marking Time uses
performance and places as a means to reflect on the character of
the city itself - its history, its fabric and make-up, its cultural
ecology and its changing nature. Weaving together personal
recollections, dramatic scripts, archival records and documentary
photographs, it suggests a new model for studying and for making
performance...for other artistic practices...for other cities.
Marking Time is an urban companion to the rural themes and
fieldwork approaches considered in 'In Comes I': Performance,
Memory and Landscape (University of Exeter Press, 2006).
Marking Time: Performance, archaeology and the city charts a
genealogy of alternative practices of theatre-making since the
1960s in one particular city - Cardiff. In a series of five
itineraries, it visits fifty sites where significant events
occurred, setting performances within local topographical and
social contexts, and in relation to a specific architecture and
polity. These sites - from disused factories to scenes of crime,
from auditoria to film sets - it regards as landmarks in the
conception of a history of performance. Marking Time uses
performance and places as a means to reflect on the character of
the city itself - its history, its fabric and make-up, its cultural
ecology and its changing nature. Weaving together personal
recollections, dramatic scripts, archival records and documentary
photographs, it suggests a new model for studying and for making
performance...for other artistic practices...for other cities.
Marking Time is an urban companion to the rural themes and
fieldwork approaches considered in 'In Comes I': Performance,
Memory and Landscape (University of Exeter Press, 2006).
In Comes I is about performance and land, biography and locality,
memory and place. The book reflects on performances past and
present, taking the form of a series of excursions in the
agricultural landscape of eastern England, and drawing from
archaeology, geomorphology, folklore, local and family history.
Mike Pearson, a leading theatre artist and solo-performer, returns
to the landscape of his childhood - off the beaten track in
Lincolnshire - and uses it as a mnemonic to reflect widely upon
performance theory and practice. Rather than focusing on author,
period and genre as is conventional in the study of drama, the book
takes region as its optic, acknowledging the affective ties between
people and place. Offering new approaches to the study of
performance, he integrates intensely personal narrative with
analytical reflection, juxtaposing anecdote with theoretical
insight, dramatic text with interdisciplinary perception. The
performances, ranging from folk drama to contemporary site-specific
work, are seen in their relationship to their cultural and physical
environment. stamp of authenticity - integrating personal childhood
memories with scholarly perception. Innovative form: It is
structured as a series of excursions into the landscape, with a
large number of personal photographs, reminiscent of the elegiac
style of W. G. Sebald's creative writing. Readers have seen
parallels with such evocative books as Flora Thompson's Lark Rise
to Candleford and Jacquetta Hawkes's A Land.
In Comes I is about performance and land, biography and locality,
memory and place. The book reflects on performances past and
present, taking the form of a series of excursions in the
agricultural landscape of eastern England, and drawing from
archaeology, geomorphology, folklore, local and family history.
Mike Pearson, a leading theatre artist and solo-performer, returns
to the landscape of his childhood - off the beaten track in
Lincolnshire - and uses it as a mnemonic to reflect widely upon
performance theory and practice. Rather than focusing on author,
period and genre as is conventional in the study of drama, the book
takes region as its optic, acknowledging the affective ties between
people and place. Offering new approaches to the study of
performance, he integrates intensely personal narrative with
analytical reflection, juxtaposing anecdote with theoretical
insight, dramatic text with interdisciplinary perception. The
performances, ranging from folk drama to contemporary site-specific
work, are seen in their relationship to their cultural and physical
environment. stamp of authenticity - integrating personal childhood
memories with scholarly perception. Innovative form: It is
structured as a series of excursions into the landscape, with a
large number of personal photographs, reminiscent of the elegiac
style of W. G. Sebald's creative writing. Readers have seen
parallels with such evocative books as Flora Thompson's Lark Rise
to Candleford and Jacquetta Hawkes's A Land.
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