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This book offers a unique and much-needed interrogation of the
broader questions surrounding international performance research
which are pertinent to the present and the future of Theatre and
Performance studies. Marking the completion of eight years of the
Erasmus Mundus MA Programme in International Performance Research
(MAIPR) - a programme run jointly by the universities of Warwick
(UK), Amsterdam (Netherlands), Helsinki/Tampere (Finland), Arts in
Belgrade (Serbia), and Trinity College Dublin (Ireland) - the
essays in this volume take stock of the achievements, insights and
challenges of what international performance research is or ought
to be about. By reflecting on the discipline of Performance Studies
using the MAIPR programme as a case study in point, the volume
addresses the broader question of the critical link between the
discipline of Performance Studies and humanities education in
general, examining their interactions in the contemporary
university in the context of globalisation.
Winner of the 2019 ASCA Book Award Participation is the utopian
sweet dream that has turned into a nightmare in contemporary
neoliberal societies. Yet can the participatory ideal be discarded
or merely replaced with another term, just because it has become
disemboweled into a tool of pacification? The gestures of
participatory art insists that the concept of participation must be
re-imagined and shifted onto other registers. Moving from
reflections on institutional critique and impact to concrete
analyses of moments of unsolicited, delicate participation and
refusal, the book examines a range of artistic practices from
India, Sudan, Guatemala and El Salvador, the Lebanon, the
Netherlands and Germany. It proposes the concept of the gesture as
a way of theorising participatory art, situating it between the
visual and the performing arts, as both individual and collective,
both internal attitude and social habitude. -- .
Winner of the 2019 ASCA Book Award Participation is the utopian
sweet dream that has turned into a nightmare in contemporary
neoliberal societies. Yet can the participatory ideal be discarded
or merely replaced with another term, just because it has become
disemboweled into a tool of pacification? The gestures of
participatory art insists that the concept of participation must be
re-imagined and shifted onto other registers. Moving from
reflections on institutional critique and impact to concrete
analyses of moments of unsolicited, delicate participation and
refusal, the book examines a range of artistic practices from
India, Sudan, Guatemala and El Salvador, the Lebanon, the
Netherlands and Germany. It proposes the concept of the gesture as
a way of theorising participatory art, situating it between the
visual and the performing arts, as both individual and collective,
both internal attitude and social habitude. -- .
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