Performance Studies |
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In Proximity of Performance Matthew Goulish, Collaborative Member of Goat Island Performance Group and School of the Art Institute of Chicago, USA Á series of accidents has brought you this book. You may think of it not as a book, but as a library, an elevator, an amateur performance in a nearby theatre. Open it to the table of contents. Turn to the page that sounds the most interesting to you. Read a sentence or two. Repeat the process. Read this book as a creative act, and feel encouraged.' 39 Microlectures: In Proximity of Performance is a collection of miniature stories, parables, musings and thinkpieces on the nature of reading, writing, art, collaboration, performance, life, death, the universe and everything It is a unique ant] moving document for our times, full of curiosity and wonder; thoughtfulness and pain. Matthew Goulish, founder member of performance group Goat Island, meditates on these and other diverse themes, proving along the way that the boundaries between poetry and criticism, and between creativity and theory, are it lot less fixed than they may seem. The book is revelatory, solemn vet at times hilarious, and genuinely written to inspire - or perhaps provoke - . creativity and thought. Published August 2000: 216 x 172, 224pp Hb 0-415-21392-4: | Pb.0-415-21393-2: |
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Performance Place and Documentation Edited by Nick Kaye, University of Manchester,UK Site-Specific Art brilliantly charts the development of an experimental art form in art experimental way. Nick Kaye traces the fascinating historical antecedents of today's installation and performance art, while also assembling a unique account of contemporary practice around the world. The book is divided into individual analyses of the themes of space, materials, site, and frames. These are interspersed by specially commissioned documentary artwork from some of the world's foremost practitioners and artists working today. Site-Specific Art, investigates the relationship of architectural theory to art understanding of contemporary site related art and performance, and rigorously questions how such works can be documented. The artistic processes involved are demonstrated through entirely new primary articles from:
June 2000: 246 x 174 256pp, illus. 89 b + w photos Hb:0-415-18558-0: | Pb: 0-415-18559-9 |
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Sex, Drag and Theatre Laurence Senelick, Tufts University Massachusetts, USA 'This sort of encyclopaedic approach is exactly the right one, balancing theory against history without ever losing sight of the amazement and pleasure that are at the very heart of drag. It's great.' - Neil Bartlett, Artistic Director of the Lyric Theatre, Hammersmith Gender-bending is one the most persistently- seductive aspects of theatrical performance. Shakespeare's female roles were originally played by boys. Peter Pan is often impersonated by a woman. In English pantomime, the Dame and Principal Boy have traditionally been performed by a stale comic and a female beauty. Nowadays drag performance is popular from rock `n' roll, to chat shows, to political activism. In The Changing Room, Laurence Senelick takes readers in a colourful, lavishly illustrated tour of the stages and dressing-rooms of history, from tribal rituals and sacred prostitution, to contemporary musical comedy and performance art. This wide-ranging-survey not only covers the globe front New Guinea to New York, but takes in such fascinating topics as soldier shows, operatic castrati, and the rise of lip-synching. Gender in Performance Published May 2000: 246 x 189: 560pp: illus. 100 b+w photos Hb. 0-415-10078-X: | Pb: 0-415 15986-5: |
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The Artist Talks Back Guillermo Gómez-Peña, Performance Artist, San Francisco, USA 'Through the performance ritual, the audience vicariously experiences the freedom, cultural risks, and utopian possibilities that society has denied them. Audience members are encouraged to touch us, smell us, feed us, defy us. In this strange millennial ceremony, the Pandora box opens and the postcolonial demons are unleashed.' - Guillermo Gómez-Peña, Performance Diaries Guillermo Gómez-Peña has been variously described as among the most significant of late-twentieth-century performance artists (Village Voice); a peacemaker in the world's culture clash (Vanity Fair); and a wizard of language (The Chicago Tribune). This latest anthology of his performance chronicles, diary entries, poems, essays, and texts, sheds an extraordinary light on the life and work of this migrant provocateur. He documents and illuminates his brilliantly inventive collaborations with Roberto Sifuentes and Sara Shelton-Mann, among others, and reveals for the first time what it's like to be a Chicano on the road. Dangerous Border Crossers is at once sexy, scary and inspiring. Be prepared to be provoked. Published April 2000: 246x174: 304pp. illus. 41 b+w photos Hb: 0-415-18236-0: | Pb: 0-415-18237-9 |
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Arnold Aronson, Colombia University, USA This is the first in-depth look at avant-garde theatre in the United States from the early 1950s to the 1990s. It offers a definition of the avant-garde, and looks at its origins and theoretical foundations by examining: Gertrude Stein, John Cage, The Beat writers; Avant-garde cinema; Abstract Expressionism and Minimalism. There are fascinating discussions and illustrations of the productions of Living Tlieatre, the Wooster Group, Open Theatre, Ontological-Hysteric Theatre and Performance Group, among many others. Aronson also examines why avant-garde theatre declined and virtually disappeared at the end of the twentieth century. Theatre Production Studies Published September 2000 216 x 138: 256 pp: illus. 32 b+w photos Hb:0-415-02580-X: | Pb: 0-415-24139-1 |
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Performance Art of the Americas Edited by Coco Fusco, Tyler School of Art, USA The most comprehensive volume on performance art from the Americas to have appeared in English, Corpus Delecti is a unique collection of historical and critical studies of contemporary Latin performance Drawing on live art from the 1960s to the present day, these fascinating essays explore the impact of Latin American politics, popular culture and syncretic religions on Latin performance. Including contributions by artists as well as scholars, Fusco's collection bridges the theory/practice divide and discusses a wide variety of genres. Among them are: body art; carpa; vaudeville; staged political protest; tropicalist musical comedies; contemporary Venezuelan performance art; the Chicano Art movement; and queer Latino performance. Published November 1999: 246 x 174, 328pp illus 37 b+w photos Hb: 0-415-19453-9: | Pb: 0-415-19454-7: |
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