20 ans de danse. CDC Toulouse / Midi-Pyrenees.
CDC Toulouse / Midi - Pirenees, 2015
20 Years - 50 Portraits
P.A.R.T.S., 2016
For its twentieth anniversary, P.A.R.T.S. dance school in Brussels looks back. In this book, fifty former students are portrayed. Fifty individual stories about how dance came into their lives, what dance can mean, and how they give form to the art of dance.
40 years of street arts. Floriane Gaber
editions ici & la, 2009
A Choreographer's Handbook. Jonathan Burrows
Routledge, 2010
A Choreographer's Score. Fase, Rosas danst Rosas, Elena's Aria, Bartok. Anne Teresa de Keersmaeker & Bojana Cvejic
Mercatorfonds, Rosas, 2012
A Dictionary of Theatre Anthropology. Eugenio Barba
Routledge, 2006
A History of European Puppetry. Volume I: From its Origins to the End of the 19th Century. Eds. Henryk Jurowski. Collaborating editor Penny Francis
The Edwin Mellen Press, NY, 1996
A History of European Puppetry. Volume II: The Twentieth Century. Eds. Henryk Jurowski. Collaborating editor Penny Francis
The Edwin Mellen Press, NY, 1996
A Journey Through Other Spaces: Essays and Manifestos, 1944-1990. Tadeusz Kantor
University of California Press, 1993
A Photographic Portrait Of A Landscape. New Dimensions In Landscape Philosophy. Pietsie Feenstra, Wapke Feenstra
Jap Sam Books, 2012
The term 'landscape' lends itself to countless associations and expectations: there is no single, clear-cut definition of landscape. That's what makes landscape such a good starting point for philosophical questions about the dynamics of cultural centres, the views of institutions and the evolution of culture in a natural environment. Who actually owned the land? Who created the landscape? Who determined the cultural rhythm? Who laid claim to the soil? This book unravels these questions and more.
Access to Archives of Performing Arts Multimedia. Edited by Tom Evens & Dries Moreels
IBBT & VTi, 2009
Aesthetics of Absence. Texts on Theatre. Heiner Goebbels
Routledge, 2015
A collection of writings and lectures by Heiner Goebbels, the renowned German theatre director, composer and teacher. These writings map Heiner Goebbels' engagement with 'Aesthetics of Absence'
through his own experience at the forefront of innovative music-theatre and performance making. In this volume, Goebbels reflects on works created over a period of more than twenty years staged throughout the world; introduces some of his key artistic influences, including Robert Wilson and Jean-Luc Godard; discusses the work of his students and ex students the collective Rimini Protokoll; and sets out the case for a radical re thinking of theatre and performance education.
AGENCY: A Partial History of Live Art. Ed. Theron Schmidt
Intellect Books, LADA 2019
Including almost 50 contributing artists and scholars, this collection of essays, conversations, provocations and archival images takes the twentieth anniversary of the founding of one of the sector's most committed champions, the Live Art Development Agency in London, as an opportunity to consider not only what Live Art has been against, but also what it has been for. Through the work of this particular 'agency', the book explores the idea of agency more generally: how Live Art has enabled the possibility for new kinds of thoughts, actions and alliances for diverse individuals and groups.
Agonistics. Thinking the world politically. Chantal Mouffe
Verso, 2013
Analyzing Performance: Theater, Dance and Film. Patrice Pavis
University of Michigan Press, 1996
and then the doors opened again. David Weber-Krebs
Onomatopee, 2020
Locked down at home during the first wave of Covid-19, David Weber-Krebs kept on thinking about the day when theatres would open their doors again. At that point, it was somehow difficult to even picture that moment.
On the 8th of April, 2020, in the middle of the lockdown, David sent an e-mail to his peers: artists, scholars, curators, and spectators belonging to different art communities. In this e-mail, there was a simple question: What will happen on your first theatre visit after the lockdown?
It was an invitation to imagine the future of theatre from this very specific moment when theatres were all closed and when it was not clear how and when and if they would open again.
Andris Freibergs. Scenogrāfija
E. Smiļģa Teātra muzejs, 2014
Animated Advances. A review of puppetry and related arts. Edited by Dorothy Max Prior
Puppet Centre Trust, 2008
Anna Viebrock. S AM No. 9
Swiss Architecture Museum, 2010
In space and marked by time - stage design as architecture.
ANOTHER VERSION: Thinking Through Performing. Ed. Philippine Hoegen
Onomatopee, 2020
ANOTHER VERSION: Thinking Through Performing approaches performance as a method of producing different versions of the self, referred to as ‘versioning’. It explores technologies and processes that produce such versions, and asks the question of how to understand the self within this multiplicity. ANOTHER VERSION: Thinking Through Performing proposes strategies of versioning as a means of attaching gesture, speech or lived experience to research questions or problems.
It is comprised of 7 cahiers containing games, scores, short stories, images, quotes and reflections that are often products of collaborative practices. Each cahier opens up a particular territory or lens, indicated through its title: CAHIER I Multiplicators, CAHIER II Pandiculators, CAHIER III Arena, CAHIER IV Object affilia, CAHIER V Animalities and CAHIER VI Ledger.
Apollonia. Twenty-First-Century Polish Drama and Texts for the Stage
Seagull Books, 2014
Art For Earth's Sake. Imagine 2020 Network
Kaaitheater, 2010
Publication of the project "Imagine 2020". Interviews with artists.
Art into Theatre: Performance interviews and documents. Nick Kaye
Taylor & Francis, 1996
Art Management. Entrepreneurial style. Giep Hagoort
Eburon, 2001
Artificial Hells. Participatory art and the politics of spectatorship. Claire Bishop
Verso, 2012
Artist at Work. Bojana Kunst
Zero Books, 2015
The main affirmation of artistic practice must today happen through thinking about the conditions and the status of the artist's work. Only then can it be revealed that what is a part of the speculations of capital is not art itself, but mostly artistic life. Artist at Work examines the recent changes in the labour of an artist and addresses them from the perspective of performance.
Audience or communities? Between policies, marketing and true desires. Silke Bake, Jacopo Lanteri
SZENE Salzburg, 2013
Audiences or communities? Between policies, marketing and true desires – under this title SZENE published a book about the role of the audience in the frame of the apap (apapnet.eu) network. In the publication, conceptualized by Silke Bake and Jacopo Lanteri, seven players of contemporary performing arts fields from different countries in Europe reflect the relation between artists, artistic production, institutions and spectators from their specific professional perspective.
Audience Participation in Theatre. Gareth White
Palgrave Macmillan, 2013
Beyond Everydayness. Theatre Architecture in Central Europe. Igor Kovačevič
The National Theatre Prague, 2010
The publication Beyond Everydayness – Theatre Architecture in Central Europe is a collective volume of more than 35 theatre historians, architects, curators and art theorists, who uncover historical, political and cultural relations in the development of theatre architecture of the Central European region from the XVI. century till present days.
Bodies in urban spaces. Willi Dorner
Hatje Cantz Verlag, 2014
With photographs by Lisa Rastl, texts by Willi Dorner and Franz Thalmair, and a conversation between Andrea Amort, Willi Dorner and Rainer Hofmann.
Boris Charmatz. Modern Dance. Ana Janevski
The Museum of Modern Art, New York, 2017
Since shocking audiences in 1993, at age 19, with his radically sparse
À bras le corps, Boris Charmatz (born 1973) has emerged as one of France’s leading choreographers. Whether he’s creating a dance composed solely of everyday actions, working with an ensemble of children or running a "dancing museum," Charmatz’s work experiments with the body as a vessel for subjectivity, history and collective action. Featuring original essays and interviews and an oral history by Charmatz’s contemporaries, this book is the first to explore the many facets of his career—as choreographer, writer and director of France’s Musée de la danse.
Edited with text by Ana Janevski. Text by Gilles Almavi, Jérôme Bel, Cosmin Costinas, Bojana Cvejic, Tim Etchells, Mark Franko, Gabriella Giannochi, Adrian Heathfield, Noémi Solomon, Peter Tolmie, Christophe Wavelet, Catherine Wood.
Bride of Palestine
Documentation of the creative workshop dance company
"Les Ballets C de la B" had in Palestine.
Cahier de l'Atelier. Art festivals for the sake of art? Edited by Hugo De Greef & Kathrin Deventer
European Festivals Association, 2008
Catalogue of the 16th International Architecture Exhibition / Biennale
Le Biennale di Venezia, 2018
Certain Fragments: Texts and Writings on Performance. Tim Etchells, Peggy Phelan
Routledge, 1999
Company: Movements, Deals and Drinks. Kathrin Böhm, Miranda Pope
Jap Sam Books, 2015
"Company: Movements, Deals and Drinks" looks at the complex social currency, histories and politics of access to the countryside, food production, everyday culture and current interest in commoning. These ideas are explored by navigating relationships between rural processes, urban communities and local land use in order to establish a new kind of company.
In its proposition, "Company: Movements, Deals and Drinks" is reminding us that rural and urban conditions are inherently connected in multiple ways, and the book follows the productive and reproductive cycles of the project in order to describe and expand on the different anticipated and practiced meanings of the project's four word title.
Contemporary European Theatre Directors. Edited by Maria M. Delgado & Dan Rebellato
Routledge, 2010
Contemporary Latvian Theatre. A Decade Bookazine
Latvian Theatre Union, Zinātne, 2020
Contemporary Theatres in Europe: A Critical Companion. Edited by Joe Kelleher and Nicholas Ridout
Taylor & Francis, 2006
Critical Theory and Performance. Edited by Janelle G. Reinelt & Joseph R. Roach
University of Michigan Press, 2007
Cultural Policy in the Netherlands
Ministry of Education, Culture and Science in the Netherlands, 2003
Czech Theatre 26.
Arts and Theatre Institute, 2010
Dance. Documents of Contemporary Art. Edited by Andre Lepecki
Whitechapel Gallery, 2012
Das Burgtheater 1955-2005. Klaus Dermutz
Deuticke, 2005
Devising Performance. A critical history. Deirdre Heddon & Jane Milling
Palgrave Macmillan, 2006
Devising Theatre. A practical and theoretical handbook. Alison Oddey
Routledge, 1994
Dialogue. Festivals Act for an Intercultural Society. Edited by Kathrin Deventer
European Festivals Association, 2009
Dictionary for Artists and Performers and Managers. Edited by Charles Suber
Simon & Schuster Custom Publishing, 1998
Digital Culture: The Changing Dynamics. Eds. Aleksandra Uzelac & Biserka Cvejtičanin, 2008
Institute for International Relations, Zagreb 2008
Documents De Dansa i Teatre. Numero 11
fundacio teatre lliure, 2008
Drama, Theatre, Performance. Simon Shepherd, Mick Wallis
Routledge, 2004
Dramas, Fields, and Metaphors. Symbolic Action in Human Society. Victor Turner
Cornell University Press, 1975
Dramaturgy and Research in Devised Theatre. Synne Behrndt and Sodja Lotker
NAMU, 2024
Split into two parts the book delves into the non-interpretive theatre research process and the critical role of the dramaturg. The "Dialogues" chapter highlights the creative process, particularly the collective authoring method known as "devising." Synne Behrndt blends artist interviews and theoretical viewpoints to argue that devising and performance are forms of research in themselves. Additionally, the author explores the dramaturg’s function in this process.
In Sodja Zupanc Lotker’s chapter called „Dynamic systems“, she examines various theatre projects, including contemporary dance, drama, site-specific performances, audio projects, and performance auctions. Each of these projects begins with a theme, question, or experience. The author views dramaturgy as a dynamic process in which the project takes shape in front of the audience. The performance acts as a projection screen, offering the performers and audience a collaborative reflection, continually providing new stimuli and experiences. Dramaturgy itself is the network of stimuli that culminates in this reflective process.
Dramaturgy in the making. Katalin Trenscenyi
Bloomsbury Methuen Drama, 2015
The book maps contemporary dramaturgical practices in various settings of theatre-making and dance to reveal the different ways that dramaturgs work today. It provides a thorough survey of three major areas of practice - institutional dramaturgy, production dramaturgy and dance dramaturgy - with each illustrated through a range of case studies that illuminate methodology and which will assist practitioners in developing their own 'dramaturgical toolbox'.
Empty Stages, Crowded Flats. Performativity as curatorial strategy. Edited by Florian Malzacher, Joanna Warsza
A publication by House on Fire, Live Art Development Agency & Alexander Verlag Berlin, 2017
'Empty Stages, Crowded Flats' additionally applies the notion of the performative to the context of curating with the aim to unfold a potential that so far has been mostly unused. The vlume investigates an array of staged situations, from choreographed exhibitions, immaterial museums, theatres of negotiation, and discursive marathons, to street carnivals and subversive public-art projects, and asks how 'theatre-like' strategies and techniques can in fact enable 'reality making' situations in art, and how, as a consequence, curating itself becomes staged, dramatised, choreographed, and composed.
Endless Shout. Ed. Anthony Elms
Inventory Press, 2019
Endless Shout asks how, why, and where performance and improvisation can take place inside a museum. The book documents a six-month series of experimental performances organized by the Institute of Contemporary Art, University of Pennsylvania, where five participants—Raúl de Nieves, Danielle Goldman, George Lewis, The Otolith Group, and taisha paggett—collectively led a series of encounters and unfolding improvisation experiments.
These include Miya Masaoka’s A Line Becomes a Circle, which pays tribute to Shiki Masaoka, a subversive Japanese haiku writer; jumatatu m. poe and Jerome “Donte” Beacham’s Let ‘im Move You, addressing the history of J-Sette, a dance form popularized by drill teams at historically black colleges; and A Recital for Terry Atkins by composer George Lewis.
Epitaph. Societas Raffaello Sanzio. Romeo Castellucci
Ubulibri, 2003
Eurocult 21. Compendium: Urban Cultural Policy Profiles
Eurocult21, 2005
Eurocult 21. Stories
Eurocult21, 2005
European Cultural Policies 2015. Edited by Maria Lind, Raimund Minichbauer
Iaspis, 2005
Everything and Other Performance Texts from Germany. Edited by Matt Cornish.
Seagull Books, 2019
In Everything: And Other Performance Texts from Germany, Matt Cornish gathers texts drawn from performances by five of the most renowned theater collectives working today: andcompany&Co., Gob Squad, Rimini Protokoll, She She Pop, and Showcase Beat Le Mot. Drawn from theater events variously described as documentary, post-dramatic, and live art, the texts collected in Everything seldom look or read like plays—some comprise rules for improvisation; others could best be described as theatrical scenarios; a few are transcripts; one includes a soup recipe. Yet amid these dramaturgical tests and trials, one finds poetry: heartbreaking stories of disability and triumph as well as strange, disjointed fairy tales interrupted by communist songs.
This volume is an extension of the original theatrical experiments. For the reader, the texts are calls to action. They ask one to do things: watch the news, listen to music, make soup, and dance. While the groups do not mean for actors to repeat the words printed here, they invite the reader to adapt their ideas and rules to make their own entirely new productions.
Everything You Always Wanted to Know About Curating But Were Afraid to Ask. Hans-Ulrich Obrist
Sternberg Press, 2007
Exhausting Dance: Performance and the politics of movement. Andre Lepeck
Routledge, 2006
Exhibition on the Stage: Reflections on the 2007 Prague Quadrennial. Edited by Arnold Aronson
Arts Institute - Theatre Institute, 2008
EXMACHINA. From Page to Stage. Patrick Caux & Bernard Gilbert
Talonbooks, 2007
Expanding Scenography. On the Authoring of Space. Edited by Thea Brejzek
The Arts and Theatre Institute, 2011
Factories of the Imagination. Edited by Fazette Bordage
TransEuropeHalles, 2002
Fair Play. Art, performance and neoliberalism. Jen Harvie
Palgrave Macmillan, 2013
Frakcija. Performing Arts Magazine
Centre for Drama Art & Academy of Drama Art Zagreb
NTIL library has several issues of Frakcija:
No. 4; 6/7; 14; 26/27; 28/29; 30/31; 32; 33/34.
Futurology of Cooperation: Grimoire
Futurology of Cooperation, 2022
Available also
digitally.
A book of spells and a living archive that can be consulted by anyone interested in experimenting with time-travel in collective processes. The spells you find in this Grimoire take the form of practical tools, techniques, games and structures. They can be used and put to the test in real life, by anyone or any group interested in experimenting with time travel in collective processes. The goal of this Grimoire is for it to be used. We tried our best to make the tutorials as accessible and user-friendly as possible, keeping in mind our missionary vocation to spread the practice and virtues of time travel and world-building in all layers of society.
GJ:1-16. Grzegorz Jarzyna. Edited by Agnieszka Tuszynska
TR Warszawa, 2008
Gob Squad and the Impossible Attempt To Make Sense of It All
Gob Squad (self published), 2015
A 150 page reader for students and other particularly interested audience members stuffed full of texts, scripts, interviews and concept documents.
Gob Squad. What are you looking at?
Gob Squad (self published), 2020
Edited by Aenne Quinones, the book Gob Squad What are you looking at? was published in 2020 as volume 1 of the publication series “Postdramatisches Theater in Portraits” at Alexander Verlag Berlin.
With an introductory text by Aenne Quiñones, an interview by Phil Collins with Gob Squad, original texts, numerous illustrations and an index of works.
The series Postdramatic Theatre in Portraits is dedicated to the development of a new theatre aesthetic since the 1990s. The history of players of postdramatic theatre in the German-speaking world is told for the first time in the form of monographs. The editors of the series are Florian Malzacher, Aenne Quiñones and Kathrin Tiedemann.
The book is in German.
Hotel Pro Forma. The Double Staging: Space and Performance
Danish Architectural Press, 2003
How it all started. Street arts in the context of the 1970′s. Floriane Gaber
editions ici & la, 2009
How to Collaborate? Questioning Togetherness in the Performing Arts. Silke Bake, Peter Stamer, Christel Weiler
Passagen Verlag, 2016
How to Collaborate? investigates the conditions and the challenges of collaboration in philosophical, artistic, cultural and political practices.The question of the relevance of collaboration has led contemporary theory to develop ideas for an alternative production of knowledge, which is informed by a communitarian ethos or societal relevance. Yet the practice of working with one another often comes under the influence of assumptions and expectations that lie outside one’s own disciplinary scope: this anthology presents a variety of such experiences and narratives. The book takes its origin in the project "A Future Archeology", launched in 2013, in which artists and architects from Europe and the Arab world came together for a performative building and research project. In the subsequent series of dialogues "How to Collaborate?" (2014), some members of the group, joined by various experts, discussed theories and practices of collaboration, and the challenges they present for art, philosophy and politics. The essays and images collected in this publication elaborate on the opening question, pushing even further into the fields of ethics, aesthetics, politics, and practices of collaboration.
Texts, essays, dialogues, illustrations, photos and further contributions by Alice Chauchat & Siegmar Zacharias, Bojana Cvejić & Margarita Tsomou, Nicolas Galeazzi & Nikolaus Gansterer, Claudia Heu & John Jordan, Silke Bake, Manfred Füllsack, Peter Stamer, Christine Standfest, Bettina Vismann, Christel Weiler
Imagined Theatre: Writing for a Theoretical Stage. Edited by Daniel Sack
Routledge, 2017
Imagined Theatres collects theoretical dramas written by some of the leading scholars and artists of the contemporary stage. These dialogues, prose poems, and microfictions describe imaginary performance events that explore what might be possible and impossible in the theatre.
Immersive Theatres. Intimacy and Immediacy in Contemporary Performance. Josephine Machon
Palgrave Macmillan, 2013
Charting the rise of the immersive theatre phenomenon, this is the first survey of immersive theories and practices for students, scholars and practitioners of contemporary performance. It includes original interviews with immersive artists and examines key topics such as site-specific performance and immersive technologies.
Ins & Outs. A field analysis of the performing arts in Flanders. Joris Janssens
VTi, 2011
Inside / Insight Festivals. A map of artistic expression around the globe. Edited by Kathrin Deventer & Ching-Lee Goh
European Festivals Association, 2012
International Village Show. Kathrin Böhm, Wapke Feenstra, Antje Schiffers
Jovis, 2017
The focus of attention is rural space as a contemporary cultural space, as well as historical and current urban-rural relations. The artists Kathrin Böhm, Wapke Feenstra and Antje Schiffers, who grew up in the countryside themselves, have been working in rural areas within and outside of Europe since 2003, at exhibitions, workshops, and cooperations, in which local production and culture still have a different significance than they do for example in cities. The projects are often long-term, become part of existing processes, and attract attention, as well as different ways of thinking and acting.
Interrupting the City: Artistic Constitutions of the Public Sphere. Sander Bax, Pascal Gielen, Bram Ieven
Antennae. Valiz, 2015
Interrupting the City explores the ways in which artistic practices and interventions constitute the public sphere. To interrupt the city (be it digitally or materially) means to arrest the flow or circulation that the city consists of. The tactics by which this interruption is achieved may vary, ranging from a media offensive to riots in the streets, but each and every time these activities affect the public sphere, also make the public sphere. Thus, the public domain is constituted by a combination of social, political and media forces, in a continuous flux, continuously being interrupted.
This book attempts to chart the conditions under which one is able to develop a voice in the public sphere, and to ask in what way these conditions could be altered by means of artistic interventions. Its contributions delve into the relations between artistic practices and the public space, including the urban relations between art and politics.
Contributors: Sander Bax, Lieven de Cauter, Bojana Cvejić, Pascal Gielen, Odile Heynders, Bram Ieven, Vanessa Joosen, Jennifer Miller, Tessa Overbeek, Gerald Raunig, Gregory Sholette, Erik Swyngedouw, Rennie Tang, Sarah Vanhee, Geertjan de Vugt, Sara Wookey
Introduction to Estonian Theatre
Estonian Theatre Agency, 2009
It Takes Place When It Doesn′t. Edited by Martina Hochmuth, Krassimira Kruschkova, Georg Schollhammer
2006
Jarzyna: Teatr / Theatre. Edited by Agnieszka Tuszynska, Dorota Wyzynska
TR Warszawa, 2009
Joined Forces. Audience participation in theatre. Edited by Anna R. Burzyńska
A publication by House on Fire, Alexander Verlag Berlin, 2016
Joined forces is comprised of four interviews and ten essays, case studies, manifestos and anti-manifestos by theatre makers, curators, critics and scholars. They present various examples of audience participation in theatre linking them to problems of participation in democracy and to socially engaged art.
Katrīna Neiburga. Solo exhibition
Contemporary Art Centre, 2008
Information on a solo exhibition by a Latvian video and set designer Katrīna Neiburga.
Katrīna Neiburga. The suprising latvian
Catalogue of a personal exhibition, 2005
Kinkaleri. 2001-2008. La scena esausta
Ubulibri, 2008
Landvermessungen. Theaterlandschaften in Mittel-, Ost- un Sudosteuropa. Edited by Martina Vannayova and Anna Hausler
Theater der Zeit, 2008
Lecture For Every One (2013-2020). Sarah Vanhee
Art Paper Editions (Ghent), 2020
Lecture For Every One consists of a series of 328 interventions that took place between 2013 and 2020, all over Europe. In 2020, the book Lecture For Every One 2013-2020 was published, disclosing the project in all its dimensions. Also in 2020, Sarah Vanhee created the storytelling performance We Are Before, in which she speaks about the LFEO interventions in a myriad of reflections on how we gather together today. Moreover, with LFEO-20, she passed on the project to a new generation of teenagers, who wrote and performed their own version of Lecture For Every One.
Legislative Theatre. Using Performance to Make Politics. Augusto Boal
Routledge, 1998
Les Ballets C de la B
Lannoo, 2006
Live Art and Performance. Edited by Adrian Heathfield
Tate Publishing, 2004
Live Art in the UK: Contemporary Performances of Precarity. Ed. Maria Chatzichristodoulou
Methuen Drama, 2020
Since entering the performance lexicon in the 1970s, the term Live Art has been used to describe a diverse but interrelated array of performance practices and approaches. This volume offers a contextual and critical introduction to the scene of contemporary Live Art in Britain. Focusing on key artists whose prolific body of work has been vital to the development of contemporary practice, this collection studies the landscape of Live Art in the UK today and illuminates its origins, as well as particular concerns and aesthetics.
The introduction to the volume situates Live Art in relation to other areas of artistic practice and explores the form as a British phenomenon. It considers questions of cultural specificity, financial and institutional support, and social engagement, by tracing the work and impact of key organizations on the UK scene: the Live Art Development Agency, SPILL Festival of Performance and Compass Live Art. Across three sections, leading scholars offer case studies exploring the practice of key artists Tim Etchells, Marisa Carnesky, Marcia Farquhar, Franko B, Martin O'Brien, Oreet Ashery, David Hoyle, Jordan McKenzie, and Cosey Fanni Tutti.
Living As Form: Socially Engaged Art From 1991-2011. Edited by Nato Thompson
Creative Time Books, New York; The Mit Press, Cambridge, 2012
A monumental, lavishly illustrated book that offers the first global portrait of a complex and definition-defying genre of cultural production.
Living as Form grew out of a major exhibition at Creative Time in New York City. Like the exhibition, the book is a landmark survey of more than 100 projects selected by a thirty-person curatorial advisory team; each project is documented by a selection of color images. The artists include the Danish collective Superflex, who empower communities to challenge corporate interest; Turner Prize nominee Jeremy Deller, creator of socially and politically charged performance works; Women on Waves, who provide abortion services and information to women in regions where the procedure is illegal; and Santiágo Cirugeda, an architect who builds temporary structures to solve housing problems.
Living as Form contains commissioned essays from noted critics and theorists who look at this phenomenon from a global perspective and broaden the range of what constitutes this form.
Contributing authors: Claire Bishop, Carol Becker, Teddy Cruz, Brian Holmes, Shannon Jackson, Maria Lind, Anne Pasternak, Nato Thompson
Lone Twin. Journeys, performances, conversations. Edited by David Williams and Carl Lavery
Performance Research Books, 2011
Looking into the abyss. Essays on scenography. Arnold Aronson
The University of Michigan Press, 2005
Mal Pelo. l'animal a l'esquena. Pep Ramis, Maria Munoz
Martin Impresores, 2000
Mil M2. What question is urgent to ask?
Mil M2, 2021
This Activity Book is part of “What Question is Urgent to Ask?”, a work developed by Mil M2 and commissioned by Unfinished, an initiative promoted by McCourt, to further explore the development of various platforms of dialogue in order to find ways to address the economic, political and technological challenges we currently face.
These are the questions that move our work at Mil M2. As an arts collective, we have worked over the last seven years with hundreds of activists, social organizations and cultural institutions across the world, bridging different communities through the making, collecting, and staging of questions derived from face-to-face conversations. In the midst of the pandemic, this proximity is no longer possible, but dialogue feels increasingly urgent in times where we face multiple crises at once, and yet due to our current physical, political and technological confinement, it has become harder to address in the public sphere. In this context, this pandemic project invites us to examine and reimagine the ways we can generate discussion while exchanging ideas and knowledge with each other has never been more crucial.
Mimos 2015: Rimini Protokoll. Anne Fournier, Paola Gilardi, AndreasHärter, Claudia Maeder
Peter Lang, 2015
This volume provides insights into the modes of operation and the artistic development of Rimini Protokoll. For more than fifteen years, the collective, with its love of experimentation and the social relevance of its productions, has had a deep and lasting impact on the international theatre world.
Mobility of Imagination. Dragan Klaic
Center for Arts and Culture, Central European University, 2007
Modern Theories of Drama: A Selection of Writings on Drama and Theatre, 1850-1990. George W. Brandt
Oxford University Press, 1998
Moments Before the Wind. Notes on Scenography. Jozef Wouters
Varamo Press, 2020
Moments Before the Wind is a heterogeneous collection of notes on scenography that offers a glimpse into the poetics and artistic practice of Jozef Wouters. These reflections on space, scenography, art making and institutional critique have developed over the years as they were written out loud in various contexts. Now settling on the page among built and unbuilt spaces, they’re an invitation to the reader to think along or against, and think up space for oneself. Edited by Jeroen Peeters; graphic design by Filiep Tacq.
Jozef Wouters is a scenographer and theatre maker based in Brussels, who develops work in collaboration with his Decoratelier. Decoratelier is also a workplace for set designers and artists, and provides room for cross-disciplinary ventures and social experiment.
Monika. Margarita Zieda
Neptuns, 2010
Book about a latvian set-designer Monika Pormale.
Monitoring Scenography 01. Space and Power. Edited by Thea Brejzek, Wolfgang Greisenegger, Lawrence Wallen
Zurich University of the Arts, 2008
Monitoring Scenography 02. Space and Truth. Edited by Thea Brejzek, Wolfgang Greisenegger, Lawrence Wallen
Zurich University of the Arts, 2009
Moving Together: Theorizing and Making Contemporary Dance. Rudi Laermans
Antennae, Valiz, 2015
Moving Together’ by Rudi Laermans examines contemporary dance from both a practical and a theoretical perspective, with interactions between the two. The author analyses three important tendencies in contemporary dance: pure dance, dance theatre, and (self-)reflexive dance. He proposes a (theoretical) conceptual framework and through extensive dialogues with choreographers he investigates how artistic cooperation results in dan
No beauty for me there where human life is rare. Editors: Christel Stalpaert, Frederik Le Roy, Sigrid Bousset
Academia Press, International Theatre and Film Books, 2007
No Fixed Points: Dance in the Twentieth Century. Nancy Reynolds, Malcolm McCormick
Yale University Press, 2003
No More Drama
Peter Crawley & Willie White, 2011
Not Even a Game Anymore: The Theatre of Forced Entertainment. Judith Helmer, Florian Malzache
Alexander Verlag Berlin, 2004
Not Just a Mirror. Looking For the Political Theatre of Today. Edited by Florian Malzacher
House on Fire, 2015
Not Just a Mirror maps a movement of artists from all over the world searching for the political theatre of today. A theatre that wants to engage with society both in its contents as in its form, creating a contemporary community in which social and political actions can be deployed and in which societies in their — actual or possible — varieties are played out, performed, expanded, tested, or even invented.Not Just a Mirror is comprised of eight essays, two interviews, and 15 case studies of political theatre makers, and investigates the performing arts as a political laboratory of the present. It explores how theatre, dance, and performance reveal their essential agnosticism, provoking the potential to actively change society rather than merely serving as a cover-up for the dysfunctions, fractures, and wounds of society.With contributions by Julian Boal, Boris Buden, Matan Cohen, Annie Dorsen, Galit Eilat, Monika Ginterdorfer, John Jordan, Alexander Karschnia, Hervé Kimenyi, Beatrix Kricsfalusi, Bojana Kunst, Hans-Thies Lehmann, Judith Malina, Florian Malzacher, Tala Jamal Manassah, Oliver Marchart, Carol Martin, Lloyd Nyikadzino, Giulia Palladini, Roman Pawłowski, Jeroen Peeters, Goran Sergej Pristaš, Christian Römer, Sylvia Sasse, Francesco Scasciamacchia, Michael Sengazi, Vassilis Tsianos, Margarita Tsomou, Benjamin Wihstutz and Franck Edmond Yao.
Notes toward a performative theory of assembly. Judith Butler
Harvard University Press, 2015
Judith Butler elucidates the dynamics of public assembly under prevailing economic and political conditions, analyzing what they signify and how. Understanding assemblies as plural forms of performative action, Butler extends her theory of performativity to argue that precarity—the destruction of the conditions of livability—has been a galvanizing force and theme in today’s highly visible protests.
Of Other Spaces: Where Does Gesture Become Event? Ed. Sophia Yadong Hao
Sternberg Press, 2019
Resonating with the ethos of open dialogue and the experimentation of women artists' collectives in the 1970s and 1980s, Of Other Spaces constructs a dynamic, open, and collaborative arena that foregrounds practices of resistance, collectivity, and self-organization. Highlighting the inherent seditiousness that animates feminist thinking, the book seeks out the lodestone of a volatile politics that calls for and instigates urgent alternatives to the cultural, political, and economic machineries of power that haunt this world. The book documents an exhibition and symposium that brought together women artists, writers, and thinkers.
Of the Presence of the Body: Essays on Dance and Performance Theory. Edited by Andre Lepecki
Wesleyan University Press, 2004
Oxford Dictionary of Dance. Debra Craine, Judith Mackrell
Oxford University Press, 2004
Parallel Lives. A Documentary Theatre Project on Secret Police in Eastern Europe. Martina Vannayova and Jan Šimko
Theater der Zeit, 2014
performance & cultural politics. Elin Diamond
Routledge, 1996
Performance and the Politics of Space: Theatre and Topology. Edited by Erika Fisher-Lichte, Benjamin Wihstutz
Routledge, 2013
From its very beginnings, theatre has been both an art and a public space, shared by actors and spectators. As a result, its entity and history is intimately tied to politics: a politics of inclusion and exclusion, of distributions and placements, of spatial appropriation and utopian concepts. This collection examines what is at stake when a theatrical space is created and when a performance takes place; it asks under what circumstances the topology of theatre becomes political.
The book approaches this issue from various angles, taking theatre as a cultural paradigm for political dimensions of space in its respective historical context. Visiting the political dimensions of theatrical space in both theatre history and contemporary performance, the volume responds to the so-called spatial turn in cultural and historical studies, and questions a politics of aesthetics that is discussed in continental philosophy. The book visits different levels and linkages between aesthetic theory and geography, art and sociology, architecture and political theory, and geometry and history, shedding new light on theatre, politics, and space, thereby transforming this historically intertwined triad into a transdisciplinary theme.
Performance Design. Edited by Dorita Hannah and Olav Harslof
Museum Tusculanum Press, University of Copenhagen, 2008
Performance in the 21st Century: Theatres of Engagement. Andy Lavender
Routledge, 2016
The book addresses the reshaping of theatre and performance after postmodernism. Andy Lavender argues provocatively that after the ‘classic’ postmodern tropes of detachment, irony, and contingency, performance in the twenty-first century engages more overtly with meaning, politics and society. It involves a newly pronounced form of personal experience, often implicating the body and/or one’s sense of self.
This volume examines a range of performance events, including work by both emergent and internationally significant companies and artists such as Rimini Protokoll, Blast Theory, dreamthinkspeak, Zecora Ura, Punchdrunk, Ontroerend Goed, Kris Verdonck, Dries Verhoeven, Rabih Mroué, Derren Brown and David Blaine.
Performance Studies: An Introduction. Richard Schechner
Routledge, 2006
Performance Theory. Richard Schechner
Routledge, 2003
Performance: A Critical Introduction. Marvin Carlson
Routledge, 1996
Performing Remains: Art and War in times of Theatrical Reenactment. Rebecca Schneider
Routledge, 2011
Performing Remains is a dazzling new study exploring the role of the fake, the false and the faux in contemporary performance. Rebecca Schneider argues passionately that performance can be engaged as what remains, rather than what disappears.
Across seven essays, Schneider presents a forensic and unique examination of both contemporary and historical performance, drawing on a variety of elucidating sources including the "America" plays of Linda Mussmann and Suzan-Lori Parks, performances of Marina Abramovic´ and Allison Smith, and the continued popular appeal of Civil War reenactments. Performing Remains questions the importance of representation throughout history and today, while boldly reassessing the ritual value of failure to recapture the past and recreate the "original."
Pina Bausch. Royd Climenhaga
Routledge, 2009
Postdramatic Fishing. Attempt on Potentialities of Performance. Edited by Maja Žerovnik
Maska, 2003
Postdramatic Theatre. Hans-Thies Lehmann
Potato Growers. Kevser Guler, Wapke Feenstra
Istanbul Biennale, 2019
Stories of industrialisation, land-use and globalisation told through the daily practices of three potato-grower families in Cappadocia Turkey. With Istanbul Biennale 2019 a booklet with potato stories, a photo-essay and a Potato Growers lunch was highlighting local knowledge and translocal connections on food production.
Praque Quadrennial of Performance Desing and Space 2011. Arts and Theatre Institute Prague
Arts and Theatre Institute, 2011
Praque Quadrennial of Performance Desing and Space 2015. Arts and Theatre Institute in Prague
Arts and Theatre Institute, 2015
Profit Over People. Neo Liberalism and Global Order. Noam Chomsky
Seven Stories Press, 1999
In Profit Over People, Chomsky reveals the roots of the present crisis, tracing the history of neoliberalism through an incisive analysis of free trade agreements of the 1990s, the World Trade Organization, and the International Monetary Fund—and describes the movements of resistance to the increasing interference by the private sector in global affairs. In the years since the initial publication of Profit Over People, the stakes have only risen. Now more than ever, Profit Over People is one of the key texts explaining how the crisis facing us operates—and how, through Chomsky’s analysis of resistance, we may find an escape from the closing net.
Programme Notes
Live Art Development Agency, 2007
Puppetry and Puppets. An illustrated world survey. Eileen Blumenthal
Thames & Hudson, 2005
Puppets and Performing Objects. A practical guide. Tina Bicat
The Crowood Press, Ramsbury Marlborough Wiltshire, 2007
Puppets, Masks and Performing Objects
MIT Press, 2001
Radical street performance. An international anthology. Jan Cohen-Cruz
Routledge, 1998
Reclaimed Avant-Garde: Spaces and Stages of Avant-Garde Theatre in Central-Eastern Europe. Zoltan Imre, Dariusz Kosinski.
2018
This book is a collection of articles by 14 authors who, as the title suggests, explore innovative alternatives in theatre scenography and space conceived and created by artists of the Central-Eastern Europe interwar avant garde.
Authors: Višnja Kačic Rogošic, Edīte Tišheizere, Ana Kocjančič, Valentyna Chechyk, Dariusz Kosinski, Martynas Petrikas, ASta Petrikiene, Martin Bernatek, Kamelia Nikolova, Ewa Guderian-zaplinska, Hanna Veselovsla, Zoltan Imre, Martina Mašlarova, Justyna Michalik, Levan Khetaguri
Resetting the Stage. Public Theatre Between the Market and Democracy. Dragan Klaic
Intellect, 2012
Restlesness. Jan Lauwers
Centre for Fine Arts, Mercatorfonds, Needcompany, 2007
Rimini Protokoll. Books from performances "100%City".
Books from performance "100%City" in Riga, Paris, Melbourne, Krakow, Brussels, Tokyo.
Rimini Protokoll. Experts of the Everyday. The Theatre of Rimini Protokoll. Edited by Miriam Dreysse and Florian Malzacher
Alexander Verlag Berlin, 2007
Rimini Protokoll. Situtation Rooms. A Multiplayer video-piece
Rimini Protokoll, 2013
Rosas Album. Photographs by Herman Sorgeloos
Theater Instituut Nederland, 1993
Scenography Expanded: An Introduction to Contemporary Performance Design. Edited by Joslin McKinney, Scott Palmer
Bloomsbury Academic, 2017
Scenography Expanded is a foundational text offering readers a thorough introduction to contemporary performance design, both in and beyond the theatre. It examines the potential of the visual, spatial, technological, material and environmental aspects of performance to shape performative encounters. It analyses examples of scenography as sites of imaginative exchange and transformative experience and it discusses the social, political and ethical dimensions of performance design.
Signs of Performance. Colin Counsell
Routledge, 1996
An introduction to twentieth-century theatre.
Singularities: Dance and visual arts in the age of performance. Andre Lepecki
Routledge, 2016
How does the production of performance engage with the fundamental issues of our advanced neo-capitalist age?
André Lepecki surveys a decade of experimental choreography to uncover the dual meaning of ‘performance’ in the twenty-first century: not just an aesthetic category, but a mode of political power. He demonstrates the enduring ability of performance to critique and subvert this power, examining this relationship through five ‘singularities’ in contemporary dance: thingness, animality, persistence, darkness, and solidity. Exploring the works of Mette Ingvartsen, Yvonne Rainer, Ralph Lemon, Jérôme Bel and others, Lepecki uses his concept of ‘singularity’—the resistance of categorization and aesthetic identification—to examine the function of dance and performance in political and artistic debate.
Site-Specific Art. Performance, Place and Documentation. Nick Kaye
Routledge, 2000
Social Acupuncture. A Guide to suicide, performance and utopia. Darren O'Donnell
Coach House Books, Toronto, 2006
Social Choreography. Ideology as performance in dance and everyday movement. Andrew Hewitt
Duke University Press, 2005
Something Some Things Something Else. Jeroen Peeters
Varamo Press, 2019
‘My desire is to make a piece with nothing.’ This quest inspired the performance artist Mette Edvardsen to make a series of solo works, from Black to No Title and We to be to oslo. The trail of booklets, postcards and ephemera published in their margins provided writer Jeroen Peeters with a particular lense to look into Edvardsen’s detailed world. The encounter yielded three collections for Mette Edvardsen, essays that honour the literary tradition of composing with fragments and loose ends in search of something. Trying to do as little as possible so that a sense of something else might occur – what’s the space of reading such writing?
Stage fright, animals, and other theatrical problems. Nicholas Ridout
Cambridge University Press, 2006
Teatr w Polsce
Instytut Teatralny, 2009
The Applied Theatre Reader. Edited by Tim Prentki and Sheila Preston
Routledge, 2009
The artist as public intellectual? Ed. Stephan Schmidt-Wulffen
Publications of the Academy of Fine Arts Vienna, 2008
The Broken World. Tim Etchells
Random House UK, 2009
The Cambridge Introduction to Theatre Directing
Christopher Innes, Maria Shevtsova, Cambridge University Press, 2013
Over the twentieth and twenty-first centuries, the director has come to be identified as a significant creative figure in European and North American theatre. Indeed, in festival, experimental and off-Broadway theatres, as well as in countries such as Germany, it can be argued that audiences are drawn to productions more by the name of the director than by the name of the author or the title of the play itself, or even by star actors. And it is to directors that the development of modern theatre can be traced in its varying manifestations. This book is a response to the emergence of such a vital artistic force, which makes it important to understand how the interrelationships now work between the different creative elements of the theatrical art, and what the guiding principles are, or how the contemporary stylistic forms are produced.
The Cambridge Introduction to Theatre Studies. Christopher B. Balme
Cambridge University Press, 2008
The Disappearing Stage: Reflections on the 2011 Prague Quadrennial. Edited by Arnold Aronson
Arts and Theatre Institute, 2012
The Emancipated Spectator. Jacques Ranciere
Verso, 2009
The Empty Space. Peter Brook
Penguin Books, 1990
The Europe Trilogy: Civil Wars, Dark Ages, Empire. Milo Rau
Verbrecher Verlag, 2016
Touring through Europe since the 2014 premiere of its first part »The Civil Wars«, Milo Rau’s »Europe Trilogy« takes up an exceptional position within its polymorphic and often scandal-embraced work: with radical simplicity, 13 actors and actresses from 11 different European countries narrate stories from their own lives and works.
All texts in English and German.
The Explicit Body in Performance. Rebecca Schneider
Routledge, 1997
"Kategoriskais ķermenis performancē" ("The Explicit Body in Performance") izvērtē feministu performanču mākslas avangarda precedentus un teorētisko reljefu. Starp daudzajiem apspriestajiem māksliniekiem ir: Carollee Schneemann, Annie Sprinkle, Karen Finley, Robbie McCauley, Ana Mendieta, Ann Magnuson, Sandra Bernhard, Spiderwoman.
Rebeka Šneidere (Rebecca Schneider) pievēršas tēmām, kas skar postpornomodernistisko kustību, jauno labējo cenzūru, preču fetišu, perspektīvo redzējumu un primitīvismu. Izmantojot dažādas kritiskās teorijas no Valtera Benjamina un Žakam Lakānam līdz postkoloniālajai un kvīru teorijai, Šneidere analizē kategoriskā ķermeņa māksliniecisko un popkulturālo reprezentāciju preču kapitālismā.
The History and Theory of Environmental Scenography. Arnold Aronson
Methuen Drama, Bloomsbury Publishing Plc, 2018
A classic work of theatre history and criticism when first published, Arnold Aronson's formative study surveyed the phenomenon known as environmental theatre. Now updated in this richly illustrated second edition to reflect developments and practice since the 1980s, it offers readers a comprehensive study of the theatre practice which has evolved to become the dominant mode of much contemporary innovative performance.
For most audiences, particularly in the Western tradition, theatre means going to a building in which seats face a stage on which actors perform a play. But there has always been a vital alternative that came to be known as environmental theatre. Whether in folk performances, street theatre, avant-garde performance, utopian architecture, Happenings, mass spectacles, or contemporary immersive theatre, the relationship of the spectator to the performance has been one in which the audience is surrounded or immersed in a shared space, in which the multiple events may be happening simultaneously, and in which the experience of theatrical space is visceral and often kinetic. This book examines the history of this phenomenon and looks at a range of contemporary practice.
New chapters examine how the 'transformed spaces' of earlier work have become the interactive and immersive productions that characterize the work of companies such as Punchdrunk, dreamthinkspeak, Teatro da Vertigem, En Garde Arts, and The Industry, among others. Updated to take account of the burgeoning scholarship on the subject,
The History and Theory of Environmental Scenography remains the authoritative account that illuminates present day theatre practice and its antecedents.
The Intercultural Performance Reader. Patrice Pavis
Routledge, 1996
The Life and Work of Nature Theater of Oklahoma. ed Florian Malzacher
Alexander Verlag Berlin, 2019
Founded in New York in 2004 by Kelly Copper and Pavol Liška, Nature Theater of Oklahoma is one of the most individual theatre companies of our time. This first monograph on Nature Theater of Oklahoma’s work offers a lively insight into its broad artistic practice. Essays by critics, theoreticians, fellow artists and participants in the various projects are accompanied by a series of contributions from Kelly Copper and Pavol Liška together with numerous colour illustrations and a comprehensive index of works.
With contributions by Elfriede Jelinek, Joris Lacoste, Florian Malzacher, Bonnie Marranca, Nikolaus Müller-Schöll, Nature Theater of Oklahoma, Claus Philipp, Tom Sellar, Karinne Keithley Syers, Pieter T’Jonck.
Guest appearances by Jérôme Bel, Romeo Castellucci, Anne Teresa De Keersmaeker, Liesbeth Gritter, Richard Foreman, William Forsythe, Faustin Linyekula, Rabih Mroué, Meg Stuart, Mette Van der Sijs, Sarah Vanhee.
The Making of a Memory: Ten Years of Gob Squad remembered in words and pictures
Synwolt Verlag Berlin, 2005
What can you remember today from a performance you saw several years ago? What are the sounds and images that have survived time and live on in your mind? How can something as subjective as experiencing a live performance be captured in words and pictures, and what can those words and pictures convey to someone who was never there? In The Making Of A Memory Gob Squad have asked almost a hundred different people to write down what they can remember of their work. The texts received make up fragmentary and sometimes conflicting accounts of what actually happened. Read as a whole, they amount to a unique document of the company's work. This book documents for the first time 10 years of Gob Squad's performance and live art.
The Oxford Illustrated History of Theatre. Edited by John Russel Brown
Oxford University Press, 1995
The Performing Arts Landscape in Flanders and Brussels. Joris Janssens
VTi
The Politics of Aesthetics. Jacques Ranciere. With an afterword by Slavoj Žižek
Continuum, 2004
The Potentials of Spaces. The theory and practice of scenography and performance. Editors: Alison Oddey & Christine White
Intellect Books, 2006
The Practice of Dramaturgy: Working on Actions in Performance. Konstantina Georgelou, Efrosini Protopapa, Danae Theodoridou
Antennae. Valiz, 2017
There is a growing interest in the notion of dramaturgy, which is often discussed either as the work of the dramaturg, or as the compositional, cohesive, or sense-making aspects of a performance. Drawing on such views, The Practice of Dramaturgy addresses dramaturgy as a shared, politicized and catalytic practice that sets actions into motion in a more speculative, rather than an instructive way. The first part, ‘Dramaturgy as Working on Actions’, explores three working principles that lie at the heart of the editors’ propositions, and relates these to debates on action, work and post-Fordist labour. The second part, ‘Working on Actions and Beyond’, opens up to different artistic, social and political perspectives that such understanding of dramaturgy may give rise to.
Contributors: Una Bauer, Simon Bayly, Andrea Božic, Nicola Conibere, Guy Cools, Augusto Corrieri, Konstantina Georgelou, Ivana Müller, Betina Panagiotara, Efrosini Protopapa, Joachim Robbrecht, Jonas Rutgeerts, Nienke Scholts, Arabella Stanger, Danae Theodoridou, Julia Willms, Jasna Jasna Žmak
The Radical in Performance: Between Brecht and Baudrillard. Baz Kershaw
Routeldge, 1995
The Routledge Companion to Theatre and Performance. Paul Allain and Jen Harvie
Taylor & Francis, 2006
The Routledge introduction to theatre and performance studies. Erika Fischer-Lichte
Routledge, 2014
The Rural. Documents of Contemporary Art
Whitechapel Gallery, 2019
"The Rural" is part of the acclaimed "Documents of Contemporary Art" series of anthologies. An investigation through texts, interviews, and documentation of the complex relationship between the urban, the rural, and contemporary cultural production. What, and where, is “the Rural”?
The Schocl Doctrine. The Rise of Disaster Capitalism. Naomi Klein
Henry Holt and Company, 2007
In this groundbreaking alternative history of the most dominant ideology of our time, Milton Friedman's free-market economic revolution, Naomi Klein challenges the popular myth of this movement's peaceful global victory. From Chile in 1973 to Iraq today, Klein shows how Friedman and his followers have repeatedly harnessed terrible shocks and violence to implement their radical policies.
The Semiotics of Theater (Advances in Semiotics). Erika Fischer-Lichte
Indiana University Press, 1992
The Semiotics of Theatre and Drama (New Accents). Keir Elam
Routledge, 1992
The Senses in Performance. Edited by Sally Banes and Andre Lepecki
Routledge, 2006
The Show and the Gaze of Theatre: a European Perspective. Erika Fischer-Lichte.
University of Iowa Press, 1997
The Theatre of Societas Raffaello Sanzio. Claudia Castellucci, Romeo Castellucci, Chiara Guidi, Joe Kelleher, Nicolas Ridout
Routledge, 2007
The Time Is Out Of Joint. Perceptions of Europe. Gunter Grass et al
Felix Meritis Papers 8
The Time We Share. Daniel Blanga-Gubbay & Lars Kwakkenos
Kunstenfestivaldesarts and Mercatorfonds, 2015
The Time We Share is a book that examines a wide range of critical perspectives on two decades of performing arts. The authors look closely at performing arts pieces from around the world to see what critiques and insights they reveal about society. Among the topics that these works address are the dialogue between history and memory, the development of a sense of community, the interplay between fiction and reality, and the fine line between a spectator and a witness. In addition to images of the performances, the book includes texts by the artists themselves, sketches, photographs and writings by prominent figures in the fields of philosophy and sociology. In assembling these materials, this book attempts to build a global overview of the relationship between performing arts and society. The Time We Share is published to coincide with the 20th edition of the Brussels Kunstenfestivaldesarts, a major arts festival featuring international creative talent. Still, more than an instrument of memory, the book is conceived as an atlas through which the past opens itself towards the future, like every map that invites us to imagine journeys to come, while telling us the story of those who traced a route to accomplish its creation.
Under the direction of Daniel Blanga-Gubbay et Lars Kwakkenbos. With contributions of Antonia Baehr, Brett Bailey, Jérôme Bel, Daniel Blanga-Gubbay, Pieter De Buysser, Romeo Castellucci, Boris Charmatz, Bojana Cvejic, Jeannine Dath, Antoine Defoort, Piersandra Di Matteo, David Engels, Tim Etchells, Edit Kaldor, Amir Reza Koohestani, Lars Kwakkenbos, Joseph Kusendila, Joris Lacoste, Isabelle Launay, Maurizio Lazzarato, André Lepecki, Frie Leysen, Thomas F. Madden, Chantal Mouffe, Dominique Mout, Reza Negarestani, Jeroen Peeters, Mariano Pensotti, Dan Perjovschi, Jean-Louis Perrier, Milo Rau, Claude Régy, Rimini Protokoll, Anna Rispoli, Walid Sadek, Árpád Schilling, Gerald Siegmund, Christophe Slagmuylder, Isabelle Stengers, Pieter T’Jonck and Sarah Vanhee.
The Transformative Power of Performance: A new aesthetics. Erika Fischer-Lichte
Taylor & Francis, 2008
The Turning World: Stories from the London International Festival of Theatre. Rose De Wend Fenton & Lucy Neal
Calouste Gulbenkian Foundation, 2005
The Twentieth - Century Performance Reader. Edited by Michael Huxley and Nowl Witts
Taylor & Francis, 2002
The World of Estonian Theatre.
The Estonian Institute, 2012
Theater. Russian Theater: The twenty-first century. Editor Tom Sellar
Duke University Press, 2006
Theatre & Feeling. Erin Hurley
Palgrave Macmillan, 2009
Theatre & Globalization. Dan Rebellato
Palgrave Macmillan, 2009
Theatre & Interculturalism. Ric Knowles
Palgrave Macmillan, 2009
Theatre & Politics. Joe Kelleher
Palgrave Mavmillan, 2009
Theatre & the City. Jen Harvie
Palgrave Macmillan, 2009
Theatre Audiences: A theory of production and reception. Susan Bennett
Taylor & Francis, 2002
Theatre in Crisis?: Performance Manifestoes for a New Century. Maria M. Delgado
Manchester University Press, 2002
Theatre in the Expanded Field: Seven Approaches to Performance. Alan Read
Bloomsbury, 2013
'Theatre in the Expanded Field' is a fiercely original, bold and daring exploration of the fields of theatre and performance studies and the received narratives and histories that underpin them. Rich with interdisciplinary reference, international, eclectic and broad-ranging in its examples, it offers readers a compelling and provocative reassessment of the disciplines, one that spans pre-history to the present day.
Theatre is more beautiful than war. German stage directing in the late twentieh century. Marvin Carlson
University of Iowa Press, 2009
Theatre People - People's Theatre. Finnish Thetare and Dance. Edited by Kaisa Korhonen & Katri Tanskanen
Like, 2006
Theatre, Intimacy & Engagement / The Last Human Venue. Alain Read
Palgrave Macmillan, 2008
Theatre/Theory: An Introduction. Mark Fortier
Routledge, 2002
There is Nothing That is Beyond Our Imagination. Claduia Galhos
ArtinSite, 2015
These Are the Tools of the Present. Beirut Cairo. Eds. Mai Abu ElDahab, November Paynter, Marnie Slater
Sternberg Press, Mophradat, 2017
This publication comprises a series of interviews with contemporary artists, musicians, and writers who are in dialogue with Beirut and Cairo. While not purporting to be an overview of the art scenes in these cities, this book begins to draw a picture of how artists think about what it means to be active in the contexts of these cities. It offers insight into the circumstances that structured these artists' stories, and the often accidental influences that have shaped how their practices have developed.
This Changes Everything. Capitalism vs The Climate. Naomi Klein
Simon & Schuster Paperbacks, 2014
Towards a Poor Theatre. Jerzy Grotowski
Methuen Drama, 1991
Tracks. Artistic Practice in a Diverse society. A. Van Diederen, Joris Janssens, Katrien Smit
Vlaams Theater Instituut, 2007
Travelogue. Mapping Performing Arts Mobility in Europe. Joris Janssens and Bart Magnus
Truth is Concrete. A Handbook for Artistic Strategies in Real Politics
Steirischer herbst and Florian Malzacher, 2014
Turn, Turtle Reenacting The Institute. Edited by Florian Malzacher
A publication by House on Fire, Alexander Verlag Berlin, 2016
A creative and intellectual analysis of the new turn in the perception and workings of the institutes in the performing arts.
This book addresses the crisis of the institute within a context of severe economic, political and social crisis. In several contributions in this book, authors refer to the Occupy movement as a major source of inspiration for new 'instituent practices', as art theorist Gerald Raunig calls them. His essay deals with a pretty well-known example of such a radical takeover, the Teatro Valle Occupato in Rome.
Visionary Structures. From Johansons to Johansons. Ieva Astahovska
Bozar, Laikmetīgās mākslas centrs, 2015
Welcome to the Desert of the Real. Slavoj Žižek
Verso, 2002
WEST(Paris)(Roma)(Amsterdam)(Athina)(Wien)(Berlin)(Bruxelles)(London)(Beijing)(Praha)(Tokyo)(New York). Kinkaleri
Centro per l'arte contemporanea, 2011
Why Theatre? Eds. Katje de Geest, Carmen Hornbostel, Milo Rau
NTGent, 2020
For two years now, the Belgian theatre NTGent and the Berlin based Verbrecher Verlag have been publishing the series The Golden Books: Books on the theory and practice of contemporary performance art, on individual plays and general social questions. <p>
For the 5th volume, after months of cultural lockdown, when live arts were in a state of emergency and the whole institution rethought their priorities, NTGent asked more than 100 of the most influential artists and intellectuals in the world the question: Why theatre? Why is this art form so unique, so beautiful, so indispensable? From classical theatre to performance art and dance, from activism to political theatre and the performativity of everyday life, authors of all continents and generations delivered short essays, memories, manifestos, letters. Moments of aesthetic epiphany meet strong emotion, critical insights into the problems of representation and populism compete with utopian texts about the theatre of the future: more than 100 voices about the state of performing arts 2020.
Why we need European cultural policies: the impact of EU enlargement on cultural policies in transition countries. Nina Obuljen
European Cultural Foundation, 2005
Wilson Meets Wirkkala. Edited by Tuula Isohanni
Aalto University, 2012
The story of Tapio Wirkkala Park, designed by Robert Wilson
Woyzeck. Photographies by Lajos Somlosi
Les Presses du Val de Loire, 1997
Writing Movement. Expeditions in dance writing 2012-2014. Ine Therese Berg & Inta Balode
Dance Information Norway, 2014
