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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.
The Routledge Companion to Theatre and Politics is a volume of
critical essays, provocations, and interventions on the most
important questions faced by today's writers, critics, audiences,
and theatre and performance makers. Featuring texts written by
scholars and artists who are diversely situated (geographically,
culturally, politically, and institutionally), its multiple
perspectives broadly address the question "How can we be political
now?" To respond to this question, Peter Eckersall and Helena
Grehan have created eight galvanising themes as frameworks or
rubrics to rethink the critical, creative, and activist
perspectives on questions of politics and theatre. Each theme is
linked to a set of guiding keywords: Post (post consensus,
post-Brexit, post-Fukushima, post-neoliberalism, post-humanism,
post-global financial crisis, post-acting, the real) Assembly
(assemblage, disappearance, permission, community, citizen,
protest, refugee) Gap (who is in and out, what can be
seen/heard/funded/allowed) Institution (visibility/darkness,
inclusion, rules) Machine (biodata, surveillance economy,
mediatisation) Message (performance and conviction, didacticism,
propaganda) End (suffering, stasis, collapse, entropy) Re. (reset,
rescale, reanimate, reimagine, replay: how to bring complexity back
into the public arena, how art can help to do this). These themes
were developed in conversation with key thinkers and artists in the
field, and the resulting texts engage with artistic works across a
range of modes including traditional theatre, contemporary
performance, public protest events, activism, and community and
participatory theatre. Suitable for academics, performance makers,
and students, The Routledge Companion to Theatre and Politics
explores questions of how to be political in the early 21st
century, by exploring how theatre and performance might provoke,
unsettle, reinforce, or productively destabilise the status quo.
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.
This book illuminates the shift in approaches to the uses of
theatre and performance technology in the past twenty-five years
and develops an account of new media dramaturgy (NMD), an approach
to theatre informed by what the technology itself seems to want to
say. Born of the synthesis of new media and new dramaturgy, NMD is
practiced and performed in the work of a range of important artists
from dumb type and their 1989 analog-industrial machine performance
pH, to more recent examples from the work of Kris Verdonck and his
A Two Dogs Company. Engaging with works from a range of artists and
companies including: Blast Theory, Olafur Eliasson, Nakaya Fujiko
and Janet Cardiff, we see a range of extruded performative
technologies operating overtly on, with and against human bodies
alongside more subtle dispersed, interactive and experiential
media.
The Routledge Companion to Theatre and Politics is a volume of
critical essays, provocations, and interventions on the most
important questions faced by today's writers, critics, audiences,
and theatre and performance makers. Featuring texts written by
scholars and artists who are diversely situated (geographically,
culturally, politically, and institutionally), its multiple
perspectives broadly address the question "How can we be political
now?" To respond to this question, Peter Eckersall and Helena
Grehan have created eight galvanising themes as frameworks or
rubrics to rethink the critical, creative, and activist
perspectives on questions of politics and theatre. Each theme is
linked to a set of guiding keywords: Post (post consensus,
post-Brexit, post-Fukushima, post-neoliberalism, post-humanism,
post-global financial crisis, post-acting, the real) Assembly
(assemblage, disappearance, permission, community, citizen,
protest, refugee) Gap (who is in and out, what can be
seen/heard/funded/allowed) Institution (visibility/darkness,
inclusion, rules) Machine (biodata, surveillance economy,
mediatisation) Message (performance and conviction, didacticism,
propaganda) End (suffering, stasis, collapse, entropy) Re. (reset,
rescale, reanimate, reimagine, replay: how to bring complexity back
into the public arena, how art can help to do this). These themes
were developed in conversation with key thinkers and artists in the
field, and the resulting texts engage with artistic works across a
range of modes including traditional theatre, contemporary
performance, public protest events, activism, and community and
participatory theatre. Suitable for academics, performance makers,
and students, The Routledge Companion to Theatre and Politics
explores questions of how to be political in the early 21st
century, by exploring how theatre and performance might provoke,
unsettle, reinforce, or productively destabilise the status quo.
Asia, performance, publics
This book investigates alternative ways of working between
cultural, artistic, and intellectual spaces in an era when the
reality of globalisation imposes on our world view. Essays by
leading performance scholars in Australia, Japan and USA are
inspired by the Journey to Con-Fusion project; a collaboration
between Tokyo's 'Gekidan Kaitaisha' and Melbourne's 'Not Yet It's
Difficult' performance groups. Discussed in Alternatives are issues
of cultural politics; intercultural exchange; representation and
interpretation of contemporary performance; dramaturgical analysis;
and readings of performative sites. This book also includes a photo
essay of Journey to Con-Fusion. In addition, this
multi-disciplinary volume offers analyses of outstanding examples
of rarely seen Japanese and Australian performance. This material
will be of vital interest to scholars working at the intersections
of theatre and cultural studies. This study results from the
fruitful collaboration between artists and scholars through
alternative networks and cross-cultural partnership. It addresses
wide-ranging contexts for the arts, and debates possibilities for
far-reaching alternatives in an age of advanced capitalism and
globalisation.
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