Itālijas laikmetīgās skatuves mākslas 2013. gada festivāla “Santarcangelo 13 Festival Internazionale del Teatro in Piazza” katalogs.

Itālijas laikmetīgās skatuves mākslas 2014. gada festivāla “Santarcangelo 14 Festival Internazionale del Teatro in Piazza” katalogs.

2002. gada Rīgā notikušā kultūras menedžmenta semināra “Managing Performing Arts Across Europe” materiāli.
Viens no semināra organizātoriem ir Latvijas Jaunā teātra institūts.

NXTSTP 2007-2012 is a joint project byKunstenfestivaldesarts (Brussels),Alkantara Festival (Lisbon), Baltoscandal Festival (Rakvere), Göteborgs Dans & Teater Festival (Gothenburg), De Internationale Keuze van de Rotterdamse, Schouwburg (Rotterdam), sterischer herbst (Graz), Théâtre national de Bordeaux en Aquitaine (Bordeaux).
In 2007, within the framework of NTSTP, the EU Cultural Fund enabled seven European festivals to join forces and thereby sustain the artistic renewal of the performing arts in Europe. At the core of this project is the support of new artistic creations by promising European artists. NXTSTP wants to identify and accompany a new generation of artists who are at a crossroads in their career or who want to initiate a project that forms a significant step forward for them. The support is financial: co-production helps them cover the budget for their creations. Moreover, the projects are presented within the context of the supporting festivals, immediately lending them widespread visibility among international audiences.

Eseju krājums angļu valodā Džona Bella redakcijā Autori: John Bell, Pyotr Bogatyrev, Stephen Kaplin, Edward Portnoy, Richard Schechner, Peter Schumann, Salil Singh, Theodora Skipitares, Mark Sussman, Steve Tillis. Lelles un maskas ir viena no senākajām teātra formām pasaulē. Arī mūsdienās tā ir ļoti sazarota un interesanta skatuves mākslas joma. 20.gadsimtā objektu un leļļu teātra inovatīvo, sociālo un politisko vērtību ir aplūkojuši gan franču simbolisti, gan krievu futūristi un konstruktīvisti, gan Prāgas semiotiķu skola un avangarda mākslinieki citur pasaulē. Pēdējos gados lelles, maskas un objekti ir atradušies Brodvejas mūziklu, postmodernistu teorijas, politisko izrāžu, performances mākslas un jauno akadēmisko programmu uzmanības centrā. Šis eseju krājums aplūko objektu, leļļu un masku teātri no visplašākās perspektīvas un stāsta par Stefana Keiplina jauno leļļu teāra teoriju, mehāniskajiem un elektriskajiem objektiem teātrī, ebreju leļļu teātri pagājušā gadsimta 20. un 30.gados, amerikāņu fenomenu “Bread and Puppet Theatre”. Grāmatā publicētas intervijas ar režisori Džūliju Teimoru un peruāņu masku meistaru Gustavo Boadu, kā arī Pjotra Bogatirjova ietekmīgā 1923. gada eseja par čehu un krievu leļļu teātri.

Lelles un objekti rada pasauli, kurā čemodāns var komentēt politisko situāciju, bet marionete nospēlēt Faustu. Šī grāmata ir praktisks ievads leļļu un objektu lietošanā, gaismu, ēnu un skaņu izmantošanā mūsdienu leļļu teātrī. Grāmatas tēmas: kādēļ režisori lieto lelles un objektus; izrādes stili; atšķirības starp rekvizītiem un objektiem; leļļu veidotāju un aktieru darbs; kā aktierim iemācīties vadīt lelli; vai lelles un objekti var izdarīt vairāk par cilvēku.

The keðja project has since 2008 been the vastest meeting platform for dance artists as well as educators, producers, scholars and academics, artists from other sectors and dancing youth to meet and address important issues within the contemporary dance field in the Nordic-Baltic region.

From 2012 to 2015, the partners organised several encounters, researches, mentoring schemes and more. The publication Fertile Ground (2015) offers an evaluation of these activities.

Kolektīva Mammalian Diving Reflex katalogs, kurā apkopoti notikumi un sasniegumi, kas piedzīvoti, realizēti, saniegti 2020. gadā.

Katalogā apkopota informācija par kolektīva Mammalian Diving Reflex radītajām performancēm, saniegumiem un nākotnes plāniem. Šajā izdevumā pieminēta izrāde, kas notikusi Rīgā, starptautiskajā jaunā teātra festivālā “Homo Novus”.

Kolektīva Mammalian Diving Reflex katalogs, kurā apkopotas performances un sasniegumi, kas realizēti 2022. gadā.

Kolektīva Mammalian Diving Reflex katalogs, kurā apkopoti notikumi un sasniegumi, kas piedzīvoti, realizēti 2025. gadā. Šajā izdevumā pieminēta izrāde, kas notikusi Rīgā, starptautiskajā jaunā teātra festivālā “Homo Novus”.

“The Beauty Queen of Leenane” is a play by Martin McDonagh that explores the complex and often toxic relationship between a mother, Mag Folan, and her daughter, Maureen, living in the isolated Irish village of Leenane. The narrative centers on their mutual dependency, marked by a relentless struggle for dominance in a life filled with emotional emptiness. As the plot unfolds, Maureen seeks a way out of her stifling existence through a romantic encounter with Pato Dooley, a construction worker from London. However, her mother’s manipulative nature and Maureen’s past traumas complicate this pursuit of happiness.

For one week each autumn, Mick Dowd is hired to disinter the bones in certain sections of his local cemetery, to make way for new arrivals. As the time approaches for him to dig up those of his own late wife, strange rumours regarding his involvement in her sudden death seven years ago gradually begin to resurface.

The play “The Lonesome West” was first presented as a Druid Theatre company and Royal Court co-production in the summer of 1997, and is the final part of McDonagh’s Leenane trilogy.

This book traces the legacy of “Zona”, Eastern Europe performance art festival that took place in Timișoara, Romania, between 1993 and 2002, years which were marked by a transition from communism to a new society built on different principles.

Bringing together artists from the former “Eastern Bloc,” “Zona” became a space of encounters, a platform for theoretical discussions and postmodern art experiments, which displayed a remarkable diversity of artistic languages. The fall of the Berlin Wall, as Nicolas Bourriaud noted in his book “The Radicant”, was the first decisive step towards globalization and the generalization of postmodern thought.

Profesors Jurovskis ir pazīstamākais leļļu teātra zinātnieks, kas leļļu teātri aplūko kā autonomu mākslas žanru. Viņš ir pasniedzējs Varšavas Teātra augstskolā un Starptautiskajā Marionešu institūtā Francijā. Jurovskis ir daudz pētījis un aprakstījis dažādus leļļu teātra aspektus. Eiropas Leļļu teātra vēsture divos sējumos ir apjomīgākais un dziļākais pētījums par šī žanra izcelsmi un attīstību Eiropā no senākajiem laikiem līdz pat mūsdienām.

Profesors Jurovskis ir pazīstamākais leļļu teātra zinātnieks, kas leļļu teātri aplūko kā autonomu mākslas žanru. Viņš ir pasniedzējs Varšavas Teātra augstskolā un Starptautiskajā Marionešu institūtā Francijā. Jurovskis ir daudz pētījis un aprakstījis dažādus leļļu teātra aspektus. Eiropas Leļļu teātra vēsture divos sējumos ir apjomīgākais un dziļākais pētījums par šī žanra izcelsmi un attīstību Eiropā no senākajiem laikiem līdz pat mūsdienām.

“Insomniac City” is both a meditation on grief and a celebration of life. Filled with Bill Hayes’s distinctive street photos of everyday New Yorkers, the book is a love song to the city and to all who have felt the particular magic and solace it offers.

Izcilā režisora Pītera Bruka grāmata par viņa teātri un radošo pieredzi.

Projekta “Tavas atmiņas Latvijas nākotnei” ietvaros Ģertrūdes ielas teātris no Latvijas iedzīvotāju iesūtītajām personiskajām atmiņām, radīja iestudējumu “Taņas dzimšanas diena”. Uzvedumu, kas caur atmiņām par pagātni parāda šodienas sabiedrību un ieskatās nākotnē.
Katalogā apkopotas esejas un fortogrāfijas no izrādes.

Tas ir 2014. gada mākslas festivāla “ruhr triennale” katalogs, kas notika no 15. augusta līdz 28. septembrim.

The English-Czech book presents 27 world-renowned scenographers and the design process of their most significant work that had a major impact on the industry.

Publication 3/4 of the series ‘How to build a manifesto for the future of a festival’ tries to respond to these questions:
How do you actually put together a festival?
What happens before the actors go on stage?
Who are the actors involved and how do they contribute to the realization?

Poļu žurnāls „Teatr” (Nr. 7–8, 2012) ir profesionāls kultūras izdevums, kas veltīts teātra mākslai, tās attīstībai un aktuālajiem procesiem Polijā un starptautiskajā teātra vidē. Žurnāls pievēršas laikmetīgajai dramaturģijai, režijai, aktiermākslai, teātra festivāliem un skatuves mākslas mijiedarbībai ar sabiedriskajiem un politiskajiem procesiem.

A collection of essays exploring the future of European cultural policy and funding approaches, which speculate on what such policies may look like in the year 2015. Issues such as the instrumentalization of art, precarity, post-Fordist work, and the impact of neoliberalism on the cultural sector are discussed.

“100% Brussels” takes the city’s official population statistics and pastes a human face on the numbers. Hundreds of Brusselaars quasi-scientifically make up the inhabitants of Brussels, but they also play a more delicate role: that of themselves. Each of them tells of their everyday life in the city, unafraid to take a stance on the issues that concern them. In this way the participants repeatedly sketch a subtle, subjective cross-section of the city. Within a few weeks of an election battle where the capital will be fiercely contested, “100% Brussels” paints a rare portrait of this complex metropolis. “100% Brussels” optimistically wanders beyond the clichés.

“100% Rīga” ir cilvēki, kas veido mūsu pilsētu, cilvēki, kuri ir satikušies pirmo reizi, daudzbalsīgs koris, kas nekad iepriekš nav mēģinājis, pilsētas portrets ar 100 sejām. “100% Rīga” ir izrāde par to, ko statistika nekad nespēs fiksēt.

“100% Rīga” ir 22. pilsēta, kuras statistika tiek iestudēta teātrī. Pirms tam Rimini Potokoll 100% veidojuši Berlīnē, Vīnē, Londonā, Parīzē, Tokijā, Melburnā, Korkā, Filadelfijā, Gvandžu un citur.

In a world bombarded with ‘lies, damned lies and statistics’ “100% London” tells the truth of modern London life in a way graphs or pie-charts never can. 100 people representing a cross section of London’s 7.8 million population are brought together to tell their stories on stage. In this fascinating and unique performance, Rimini Protokoll is creating a living, breathing portrait of London that is far from average.

“100% Tokyo” is a participatory documentary theater project by the German collective Rimini Protokoll, featuring 100 statistical citizens chosen to represent Tokyo’s exact demographic breakdown on stage.

“100% Paris” – a gathering that is a city, a group just beginning to experience itself, a choir that has never practiced, an impossible entity with many faces – assembled into ever-changing new group pictures: group pictures as replacement for family – as fleeting portraits of belonging. Who is missing? Who thinks they might give answers on stage that are different from the ones they’d give in response to a telephone survey or in the voting booth? And what have the statistics failed to record? Who lives in a completely different Paris? Who thinks that this city is different because they are a part of it?

“100% Krakow” takes the risk and generates the average of Poland’s 2nd biggest city which is to some the secret capital of country. Spreading throughout Krakow over four months, “100% Krakow” began with the casting of one member who had to recruit another in 24 hours, who then recruited another and so on – all according to specific criteria of age, gender, district, marital status and household composition mirroring the demographic make-up of this historical urban junction. Each individual on stage represents roughly 7.591 Krakowians – together they a choir that has never practiced, an impossible entity with many faces. They are Krakow, giving answers to questions that are beyond every regular statistic.

“100% Melbourne”, a theatre show in which Melbourne’s population was represented by 100 everyday Melburnians. As part of the City of Melbourne Arts and Participation Program, these 100 Melburnians worked with acclaimed Berlin theatre makers Rimini Protokoll to create a live portrait of the city.
The “100% Melbourne” book included statistics about Melbourne and its people, an essay on the “100% Melbourne” project, profiles of all participants and other key project personnel, and more.

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.

Gian Maria Tosatti ir mākslinieks, kurš veido vietai pielāgotas (site-specific) vides instalācijas, pētot konkrētu teritoriju.
2017. gadā Tosatti uzsāka neatlaidīgu ceļojumu, meklējot demokrātijas, utopijas un pat cilvēcības paliekas, kas viņu aizveda uz Katāniju, Keiptaunu, Odesu un Stambulu. Katrā pilsētā tapa mākslas darbs; katrs darbs, kas iecerēts kā ideāla vizuālā romāna epizode, tiek atainots šajā grāmatā, kas uzrakstīta dienasgrāmatas formā, kurā mākslinieks apkopo vīzijas, ierosinājumus, pareģojumus un realitāti, izceļot radošo procesu.

Gian Maria Tosatti, artist whose research has always been linked to the territory, on which he intervenes with site-specific environmental installations.
In 2017, Tosatti began a relentless pilgrimage in search of the remains of democracy, utopia, even humanity, that took him to Catania, Cape Town, Odessa, Istanbul. In each city a piece of art was born; every work, conceived as an episode of an ideal visual novel, is restored by the artist in this book, written in the form of a diary, in which he collects visions, suggestions, prophecies and reality, highlighting the creative process.

Violas Spoliņas rokasgrāmata piedāvā praktisku pieeju aktiermeistarības attīstīšanai, izmantojot dažādas improvizācijas spēles, dažādām vecuma grupām.

Šajā grāmatā vēsture vairs nav skatīta tikai kā “lielo” teātru attīstības gaita, bet gan stilu un virzienu, skolu un parādību mijiedarbība. Tā kā daudzas parādības varēja attīstīties, tikai pateicoties tam, ka Latvija atguva valstisko neatkarību, bet māksla iekļāvās globālajos procesos, paplašinājās pētījuma robežas, tāpēc tam dots nosaukums Neatkarības laika teātris. Pirmoreiz teātra vēstures kontekstā aprakstīta ne tikai teātra, bet arī operas režija, scenogrāfija, jaunā, kolektīvi tapusī dramaturģija, laikmetīgā deja un, protams, mūsu starptautisku autoritāti ieguvušie mākslinieki.

Grāmatas autori ir 19 vidējās un jaunākās paaudzes teātra kritiķi, kas savos rakstos tiecas gan atklāt režisoru radīto izrāžu savdabību un darba paņēmienus, gan sniegt ieskatu viņu personībās – uzskatos, interesēs, avotos, no kuriem tiek smelta radošā enerģija. Lasītājs varēs iepazīt Mārtiņa Eihes, Lauras Grozas-Ķiberes, Andreja Jarovoja, Viestura Meikšāna, Ineses Mičules, Vladislava Nastavševa, Indras Rogas, Elmāra Seņkova un Valtera Sīļa radošos portretus, kā arī Jurija Djakonova, Kārļa Krūmiņa, Dmitrija Petrenko portretskices. Grāmatā publicēta arī rakstu kopa, kur apskatīta jaunās režijas jaunā valoda, režisoru sadarbība ar savas paaudzes dramaturgiem un scenogrāfiem, performatīvās inovācijas, klasikas dekonstrukcija un citas.

Latvijas teātris un kino biogrāfijās enciklopēdijas 2. sējums.

Latvijas teātris un kino biogrāfijās enciklopēdijas 1. sējums.

Grāmatā aplūkota Latvijas performances māksla kopš tās aizsākumiem 20. gadsimta 60. gados līdz mūsdienām. Lasītājiem tiek piedāvāts plašs ilustratīvais materiāls un ap 30 performanču aprakstu, sniedzot priekšstatu par performances mākslu Latvijā kopumā (60. gadu hepeningi un fotosesijas, 70. gadu pagrīdes eksperimenti, 80. gadu robežu pārkāpšana, 90. gadu Latvijas performances ziedu laiki), kā arī par atsevišķām spilgtām personībām, kas darbojušās dažādos laikos. Grāmata latviešu un angļu valodā.

Sabiedriskā izglītības fonda “Jaunā akadēmija” gadskārtējs izdevums, kurā apkopotas 2006. gada jauniešu vasaras nometnē pieredzētās lekcijas un diskusijas. Šī izdevuma un nometnes tēma – Eiropa dažādos tās aspektos un veidolos.

Sabiedriskās izglītības fonda “Jaunā akadēmija” 2004. gada vasaras nometnes lekciju un diskusiju krājums. Nometnes tēma – minoritātes – kas tika apskatītas caur politiku, ekonomiku, literatūru un mākslu.

Skatuves mākslas tulkojumu antoloģija tapa kā atbilde uz nepieciešamību pētīt, izprast un skaidrot parādības, kas kopš 20. gadsimta otrās puses un 21. gadsimtā ir novērojamas pasaulē, kā arī ieplūdušas un nepārprotami ietekmējušas mūsdienu Latvijas teātri. Izdevumā vienkopus izlasāmas teorijas, personīgi pārspriedumi un ierosinājumi domāšanai par laikmetīgās skatuves mākslas praksēm. Antoloģijā iekļauti tādu autoru kā Hansa Tīsa Lēmana, Ērikas Fišeres-Lihtes, Tima Etčelsa, Milo Rau, Klēras Bišofas u. c. teksti.

Mūzika un teātris Rīgā 16. – 18. gs.

Vēstures fakti, vācu kultūra – skats pāri diviem gadsimtiem. Rīgas pilsētas teātris (1782-1863)

Informatīvs katalogs par Latvijas nevalstiskajiem un vlastiskajiem teātriem, dejas kompānijām, režisoriem, festivāliem un organizācijām.

2010. gada festivāla “Theater der Welt” katalogs. Tajā apskatāma festivāla programma un tā dalībnieki.

Riotous Epistemology explores the significance of taking seriously the intellect of revolt, uprising as thinking, art as upheaval, and other forms of philosophy from below. To theorize revolt and subversive art practices as philosophy from below, it is necessary to refute conventional understandings of art and philosophy.

21. Festivāla “Konfrontacje Teatralne” katalogs, kas nosrisinājās no 6. līdz 15. oktobrim 2016. gadā, Ļubļinā.

Žurnāls veidots 2015. gada SPIELART festivālam. Tajā apskatāma programma, informācija par festivāla dalībniekiem un organizātoriem.

Žurnāls veidots 2013. gada SPIELART festivālam. Tajā apskatāma informācija par festivāla dalībniekiem un organizātoriem.

The publication serves as an experimental archive rather than a traditional festival catalog. It explores interdisciplinary territories between visual arts and performance through a mix of articles, photographs, and performance extracts. It captures the festival’s aim to question the very medium of the festival format and redefine how spectators and artists interact within a shared space.

A book, “Theater etcetera”, created as part of the festival “SPIELART”, puts forward several key issues for discussion: What are festivals for today? Which artistic function do text, image, body, and movement have in contemporary productions? What is the issue for discussion concerning the new media in theater? The wide range of views has been chosen on purpose: Theater also has to discuss issues beyond just aesthetic and dramaturgical questions if it doesn’t want to disappear into a self-inflicted isolation.

The publication explores the boundaries of stage and audience, examining experimental arts alongside the broader socio-economic challenges in performing arts at the time. It is published for the 1999 contemporary “SPIELART” Festival Munich.

In keeping with festival “SPIELART” tradition, in this edition of “Theater etcetera” thoughts on thematic threads are presented from different viewpoints in essays, commentaries, reflections and reports.

The essay collection on City of Women festival’s topics, presents women and their fight for the acknowledgement of their social, political and economic positions, namely through thematic scopes: Artistic Production, Social Activism and Educational Arts.

This publication is delivered as a component of the BAD HOUSE festival with the desire to share early portraits and reflections on the execution of Jessy Razafumandimby performances or his displays. A portion of the drawings are from his graduation year, 2018, while others were made explicitly for this publication.

Projekta “EMERGENCE” (2018–2020) publikācija.

Ilustrētais katalogs tapis latviešu, itāļu un angļu valodā pēc izstades “Italijas gaisma: no Fatori lidz Morandi” Latvijas Nacionālajā mākslas muzejā. Pirmo reizi Baltijas reģionā tika īstenots kopsakarību meklējumos balstīts salīdzinošas mākslas vēstures projekts par Itālijas un Latvijas 19. un 20. gadsimta sākuma mākslu, atvedot meistardarbus no Ufici galerijas uz Rīgu.

This guide is a compilation of information on twelve playwrights who have been actively involved in the Latvian theatre scene over the recent years and are continuously creating original works that are represented by professional, publicly funded theaters.

Grāmata ir par vienu no izcilākajām Daugavpils un Latgales 20. gadsimta otrās puses un 21. gadsimta sākuma gleznotājām Silvu Linarti.

In July 2023, Scottish Sculpture Workshop (SSW) and Myvillages delivered a four-day Summer Camp, titled “Who has the Energy?”, which explored the material and immaterial energy that shapes cultural work through hands-on sessions, talks, dinners and cultural action. The Summer Camp intended to
“address connections between; the economics of oil and everyday culture, rural practice and cultural desires, and the social energy in a caring multispecies world”.

Māxlas žurnāls #36 kopā ar Evu Vēveri.

Katalogā ir apkopoti 2025. gada DAS Theatre maģistra programmas pētniecībā balstītām mākslinieciskām un kuratora praksēm teātra jomā studentu darbi.

Komikss ir projekta “Cirks klimatam” pirmās radošās laboratorijas jauniešu kopdarbs ar komiksu māksliniecēm Ingrīdu Pičukāni un Viviannu Mariu Stanislavsku. Laboratorijas laikā jaunieši zīmēja, radīja kolāžas un veidoja zīnus par sev svarīgām vides tēmām un aktīvismu. No tā radās stāsts – “Zaļais ceļojums”, kurā jauniete Žanete un viņas plastmasas pudele dodas ceļojumā, pēta un risina dažādas vides problēmas.

This comprehensive publication is the result of a two-year collaboration within the platform Islands of Kinship, which interconnects six mid-scale visual art institutions across diverse regions in Europe (Prague, Bratislava, Bitola/Skopje, Cologne, Helsinki, Riga). In this publication a group of curators, artists, and experts involved in their respective organizations as inclusion and sustainability coordinators reflect on social and environmental responsibility in artistic and institutional practice from theoretical, political, and practical perspectives. Through essays, mind maps, codes of conduct, and lists of principles and recommendations, they address issues such as accessibility, just representation, and participation.

Grāmata atspoguļo Kārļu muižas, Āraišu un Cēsu cilvēkus trijos gadsimtos. Dzīve Kārļu muižā bija cieši saistīta ar pārējās Vidzemes vēstures gaitu, nereti te sajuta Krievijas un Eiropas politiskās un ekonomiskās varas rezonansi. Vēstures izklāsts sadalīts astoņās tematiskās nodaļās. Grāmatā apkopoti vēstures materiāli no Latvijas, Vācijas, Lielbritānijas, Krievijas arhīviem un muzejiem.

What you read here are four sets extracts from the original diary entries based on observations of projects that took place in Scotland, Latvia, Slovenia and Italy. These original extracts is called ‘whispers’ as they have a quiet, sensitive, respectful tone that doesn’t want to disrupt the processes they are witnessing but wants to share their insights.

Pieteikuma katalogs Daugavpilij kā Eiropas kultūras galvaspilsētas 2027. gada kandidātei.

Oksfordas ilustrētā teātra vēsture aplūko teātra attīstību visā pasaulē no Antīkās pasaules līdz mūsdienām. Izlasāma krievu valodā.

Oksfordas ilustrētā teātra vēsture aplūko teātra attīstību visā pasaulē no Antīkās pasaules līdz mūsdienām.

This is a journey through time and across Africa and New Mexico that sets out to discover how a world in crisis reached this state.
British author Patrick Marnham and Belgian filmmaker Manu Riche follow a trail of decisions and unintended consequences from the age of colonialism to the invention of the atomic bomb and to warfare in the Congo today. In a new century, will we make better choices?

Grāmatā atspoguļoti Latvijas Mākslas akadēmijas 100 gadi, to veidojuši 100 akadēmijas absolventi, pārstāvot dažādās paaudzes, mākslas žanrus, stilus un mākslas valodas.

Pieteikuma katalogs Rīgas kā Eiropas kultūras galvaspilsētas 2014. gada kandidātei.

Grāmata “Das Burgtheater 1955–2005” stāsta par Vīnes Burgteātra attīstību piecdesmit gadu periodā – no tā atkārtotās atklāšanas pēc Otrā pasaules kara 1955. gadā līdz 2005. gadam.
Bagātīgi ilustrētais izdevums apvieno vēsturiskus faktus, dokumentus, fotogrāfijas un analītiskus komentārus, sniedzot daudzpusīgu ieskatu vienā no Eiropas ievērojamākajiem dramatiskajiem teātriem.

Andrejs Grants ar šo albumu pirmo reizi dod iespēju vienkopus aplūkot viņa darbu plašāku izlasi. Tā ietver trīs kolekcijas, kas veidojušās no aizvaditā gadsimta beigu gadiem: “lespaidi”, “Pa Latviju” un “Kolēģi, draugi, paziņas”.
Andrejs Grants: “Fotogrāfijai ir šī te jaukā iespēja, paradokss, ko var uztvert un apspēlēt, – mirkļa mūžība. Tu nobildē mirkli, un, ja tas ir pareizais mirklis, tad tas ir arī mūžības atspulgs.”

In this album, Andrejs Grants for the first time provides a proper opportunity to view a wider selection of his works. It covers three collections, created in the final 15 years of the last century: “Impressions”, “Around Latvia” and “Colleagues, friends, acquaintances”.
Andrejs Grants: “Photography is this marvellous opportunity, this paradox that can be captured and played on – the eternity of the moment. You picture a moment, and if it’s the right moment, then it’ll be a reflection of eternity as well.”

Katalogs veidots par Katrīnas Neiburgas darbu („Solitude”, „Topoloģija 29”, „Kroha“, „Iela“, „Kas meitenēm somiņās?”, „Burvju lietas” un „Satiksme” utt.) izstādi “Personīga izstāde”.

Iedvesmojies no tēlnieka Aigara Bikšes septiņām skulptūrām, kas veidotas nepabeigtās dokumentālās tēlniecības stilistikā, prozaiķis Māris Bērziņš uzrakstīja septiņus stāstus. Šī grāmata ir uzskatāma par 2010. gada skulptūru un stāstu izstādes turpinājumu.

Katalogs veidots par Kaspara Podnieka un Kriša Salmaņa eksozīciju “North by Northeast” (Ziemeļi – Ziemeļaustrumi) Latvijas nacionālajam paviljonam 55. Starptautiskajā Venēcijas mākslas biennālē.

Grāmatā apkopota informācija par 20. gs. 60., 70. un 80. gadu latviešu māksliniekiem un viņu radītajiem darbiem.

Everyone wants someone to talk to. Perhaps ancient Latvians, like Prince Charles, who in a 1986 television interview stated “I just come and talk to the plants”, may be right after all. Recent scientific studies have proved that talking to plants may encourage their growth. We were keen on testing this concept by developing “Talk to Me”, an online interface which allows people to talk to their plants while away from home.
The “Talk to Me” book introduces the process and results of artistic research project on human-plant communication.

Mēs visi velamies ar kādu aprunāties. lespējams, ka senajiem latviešiem tāpat kā princim Čārlzam, kas 1986. gadā televīzijas intervijā teica: “Es vienkārši eju un runājos ar augiem”, ir izrādījusies taisnība. Jaunākie zinātniskie pētījumi pierāda, ka sarunāšanās ar augiem var veicināt to augšanu. Radās interese pārbaudīt šo ideju, izveidojot “Runā ar mani” – tiešsaistes interfeisu, kurš ļauj cilvēkiem runāt ar saviem augiem, atrodoties prom no mājām…
“Runā ar mani” grāmata iepazīstina ar mākslas petniecības projekta procesu un rezultātiem.

No šamanisma līdz gnosticismam, no vudū līdz alķīmijai, no budisma līdz evaņģēlismam, “Tehgnosis” novelk racionālo ādu informācijas tehnoloģijām, lai atklātu utopiskus sapņus, savādas apsēstības un apokaliptiskas vīzijas, kas piepilda pašreizējo digitālo revolūciju. Ēriks Deiviss piedāvā unikālu un fascinējošu skatījumu uz tehnokultūru, salīdzinot to ar Māršala Maklūena, Greila Markusa un Viljama Gibsona viedokli.

Kas bija Rīga 20. gadsimta sākumā, kāda tā izskatījās laikā, kad tika proklamēta Latvijas valsts 1918. gada 18. novembrī?
Grāmata stāsta par Rīgas straujo izaugsmi no 19. gadsimta beigām līdz 20. gadsimta pirmajam gadu desmitam. Tā sastāv no 10 nodaļām un 128 skatu kartītēm.

This issue of Frakcija, comes at the initiative of Mr. Chris Torch, artistic director of Intercult, producers of the event Landscape X, in collaboration with Stockholm – Cultural Capital of Europe 1998. It is a small vessel of dialogues. The vessel tossed about by every wind, even by those that do not blow on the seas it sails.

2018. gada arhitektūras biennāles pārstāvošo valstu katalogs.

2018. gada arhitektūras biennāles katalogs.

Kaunas, 05.11.2021–23.01.2022 How many shapes can an idea take? How many sounds can a city transmit? What tastes do memories have? How much does a feeling weigh? How many stories can arise out of each of these questions? With their works, the artists of Magic Carpets gave life to hundreds of these stories, using languages that were both their own and universal, and saving them from oblivion. The stories travelled and intertwined, overcoming physical and cultural boundaries. And if, as Sherazade claimed, any story that begins has no end, these tales are like living beings, constantly evolving, feeding off the voices that tell them and giving rise to a new collective memory.

Starptautiskā jaunā teātra festivāla “Homo Novus” 2018. gada izrādes “Noktirne” katalogs.

Projekts “DemArt” ir jauna iniciatīva, kuras mērķis ir apvienot mākslas spēku un demokrātijas principus, lai piedāvātu iespēju indivīdiem un kopienām ar radoša procesa, dialoga un sadarbības starpniecību iesaistīties aktuāl sabiedrības problēmu risināšanā. “DemArt” kodolu veido pārliecība, ka māksla var būt vienojošs un transformējošs spēks, kas veicina iekļaujošu un pieņemošu attieksmi un iedvesmo rīcībai.

Combining the power of artistic expression with the principles of democracy, the DemArt project seeks to empower individuals and communities to engage with pressing societal challenges through creativity, dialogue, and collaboration.
At its core, DemArt believes in the unifying and transformative potential of the arts to foster inclusion, build understanding, and inspire action.

Prāgas scenogrāfijas kvadriennāles 2023. gada katalogs.

Prāgas scenogrāfijas kvadriennāles 2011. gada katalogs.

Prāgas scenogrāfijas kvadriennāles 2011. gada ceļvedis.

Prāgas scenogrāfijas kvadriennāles 2015. gada katalogs.

Prāgas scenogrāfijas kvadriennāles 2019. gada katalogs.

Catalog from The London 2012 Festival. Festival invited more than 25,000 artists from every country involved with the Games and created 13,006 performances and events all over the UK. It was the largest festival in the UK, and it reached round the world digitally and via the thousands of national and international press and broadcasters.

Katalogs no Londonas 2012. gada festivāla. Festivāls vienoja 25 000 mākslinieku no dažādām valstīm un radīja 13 006 performances un pasākumus visā Apvienotajā Karalistē.

The School of Visual Theatre katalogs, kas veltīts pedagoģijai. The School of Visual Theatre tika dibināta Jeruzalemē 1986. gadā kā novatoriska akadēmija, kas piedāvā jaunu un starpdisciplināru māksliniecisko pieeju. Kopš tā laika, savas 30 gadus ilgās darbības gaitā, SVT ir nostiprinājusies kā unikāls mākslas studiju un prakses modelis gan Izraēlā, gan ārvalstīs.

The School of Visual Theatre catalogue dedicated to pedagogy. The School of Visual Theatre was founded in Jerusalem in 1986 as an innovative academy offering a new and interdisciplinary artistic approach. Ever since, during its 30 years of activity, the SVT has established itself as a unique model of art studies and art practice in Israel and abroad.

Katalogs veidots 2018. gada Kunstenfestivaldesarts ietvaros.

Rīga 2014 – Eiropas kultūras galvaspilsētas notikumu katalogs.

Prāgas scenogrāfijas kvadriennāles 2019. gada programma.

Prāgas scenogrāfijas kvadriennāles 2015. gada programma.

Katalogs veltīts 2017. gada Purvīša balvai, kurā apkopoti šīs balvas kandidāti, nominanti un viņu darbi.

The main goal of this study is to identify those elements of cultural policies that might have directly or indirectly been affected by the EU enlargement. It aims to identify policies, common to different countries, which have already had an impact on culture, or might do so in future.

SPACE (Supporting Performing Arts Circulation in Europe) platformas katalogs, veidots no 2009. līdz 2011. gadam SPACE mobilitātes projekta laikā.

Bridging the global gap, mobilising human resources through culture, living and working in the communication society: In from the margins examines these and other issues as part of a new policy agenda for Europe in transition, offering ideas and recommendations, as well as case studies, statistics and indicators.

In this collaborative effort between Latvian and Norwegian photographers and anthropologists – the traveling exhibition Life in Motion – looked at and documented Latvians living in Norway and Norwegians living in Latvia. The exhibition aims to challenge stereotypes and promote better intercultural understanding, using the portraits of individuals and their daily life to show cultural and personal uniqueness, and the diversity and differences in lifestyle. Life in Motion presents the ways of thinking, beliefs and values of each culture to the general public of both countries.
Life in Motion offers a close-up of a particular space and time – Latvia and Norway in the early 21st century – and the very personal journeys and experiences of 18 diverse individuals.

Grāmata “Rīgas salas” tapusi Rīgas – Eiropas kultūras galvaspilsētas tematiskās līnijas “Ceļu karte” ietvaros. Tajā apkopotas Gundegas Repšes esejistiskas apceres par Rīgas esošo un izzudušo salu dzīvi un Kaspara Gobas dokumentālās fotogrāfijas.

This book is a short guide to over 100 years of history of the Latvian people covered by the acronym “LGBTI” – that is, lesbian, gay, bisexual, trans and intersex people.
The book is structured in a chronological order, based on the periodization used in political history. Starting from the beginning of the 20th century, through to World War I, and on to the Latvian War of Independence (1918-1920) as a consequence of which, on November 18, 1918, an independent Latvian republic was born. The story continues through two key stages of history of the Latvian state – the years of the parliamentary democracy (1918-1934) and the subsequent authoritarian regime (1934-1940). Thereafter life continues through three occupations that began in the Second World War – the Soviet occupation (1940-1941), the Nazi occupation (1941-1944), and again the Soviet occupation, which led to half a century of Soviet rule (1944-1990). The story is concluded by the LGBTI experience in the renewed Latvian state from 1990 to the end of 2017; the period in which terms contained within the acronym “LGBTI”, such as “gay”, entered public discourse.
Each of these periods is explained from four angles: an overview, a story, the global context and a viewpoint. The overview presents the period in the form of various data and diagrams. The story tells the most important characteristics of the time. The global context section positions the history of Latvia within a global context and vice versa, whereas the viewpoint shares an opinion of a contemporary of the time.

Grāmatā ir aplūkoti visi galvenie finansējuma avoti – sākot no valdības un uzņēmumu ziedojumiem līdz privātpersonu dāvanām un mantojumiem -, kā arī visas galvenās līdzekļu piesaistes metodes – sākot no tiešiem sūtījumiem līdz ziedojumu vākšanai uz ielas un labdarības pasākumu organizēšanai.

The purpose of this book is to describe the work of the independent foundations, institutes, and programs created and supported by George Soros.

Visā pasaulē par radošu ekonomiku runā kā par nozīmīgu un strauji augošu globālās ekonomikas daļu. Dažādu valstu valdības un radošie sektori arvien vairāk atzīst tās kā jaunu darbavietu, labklājības un kultūras virzītājspēku.
(Šī brošūra ir zināšanu un pieredzes ieguldījums šīs jaunās un nozīmīgās nozares attīstībā.)

Šajā darbā sniegts izklāsts, kāpēc domājot par sabiedrības ilgtspējīgu attīstību, bez vides, ekonomikas un sociālās līdztiesības nevar aizmirst par kultūras jomu un tās nozīmību sabiedrībā.

Eiropas Savienības sadarbības tīkla partneru informatīvā brošūra par Theorem tīklu.

„Proyecto Pregunta“ ir pilsoniskās līdzdalības platforma, kuras darbības pamatā ir kopīgu diskusiju veidošana, vizualizēšana un izplatīšana sabiedriskajā telpā.
Tās galvenais mērķis ir aktivizēt reģionus un kopienas, kopīgi veidojot zināšanas.
Katrā aktivitātē tiek izmantots pilsoniskās līdzdalības rīku kopums, kas veicina sabiedrisko jautājumu kopīgu apspriešanu.

Proyecto Pregunta is a civic participation device centered on the collective generation, visualization and viralization of debates on the public space.
Its ultimate goal is to activate territories and communities through the collective generation of knowledge.
Each activation, deploys a set of tools for civic engagement, fostering the collective questioning of social issues.

Konference “Mākslinieki kā ražotāji. Publiskās telpas pārveidošana”, kas notika 2004. gada 15.- 16. oktobrī, balstoties uz Valtera Benjamina eseju par mākslinieku kā ražotāju un Austrumeiropā aktuālo publiskās telpas zuduma problemātiku, pulcēja starpdisciplinārā manierē visdažādāko sfēru speciālistus no mākslas teorētiķiem un urbāno studiju pētniekiem līdz pat kuratoriem un māksliniekiem praktiķiem. Tieši tā konference bija iecerēta jau organizēšanas sākotnējā fāzē — ar domu rosināt diskusijas un “atsvaidzināt” vairāk vai mazāk teorētisko referātu klāstu, to papildinot ar piemēriem “iz realās dzīves”.

Komercdarbība un kultūra sadarbojas daudzos veidos, sniedzot tik daudzveidīgas savstarpējās priekšrocības, ka termins „sponsorēšana” vairs nav pietiekams, lai aptvertu tās visas. Tomēr sponsorēšana joprojām ir būtiska partnerība starp uzņēmējdarbību un mākslu.
Organizācijas „Arts & Business” rokasgrāmata sniedz iespēju pilnveidot savas prasmes mākslas un uzņēmējdarbības partnerību jomā.

Tūres ir fragmentēta, sarežģīta un grūti aptverama nozare, kas nav pieradusi vākt un uzskaitīt emisiju datus. Šis pētījums cenšas izraisīt nozīmīgas globālas pārmaiņas tūru nozarē, kas vides jautājumus izvirzītu uzņēmējdarbības centrā.

From 1th of September 1999 to 1th of November 2001, Vereniging van Schouwburg- en Concertgebouw Directies Amsterdam, in collaboration with the Latvian Ministry of Culture and The New Theatre Institute Latvia, created a project: “Arts Management Development: Latvia”. The project’s general problem: To regenerate and reinforce the growth and ongoing development of management training within the cultural sector throughout Latvia, through international exchange and management training designed specifically for the Latvian cultural, political, economic, and organisational structure that currently exists.

Šis žurnāla „Frakcija“ numurs vēlas dot ieskatu rakstos, kuros vadošie teorētiķi un praktiķi iezīmē iespējamo diskusiju lauku, aplūkojot šo kuratora amatu ar neskaidru darbības jomu.

Projekta „Creative Metropoles“ mērķis ir apmainīties ar pieredzi par to, kā atbalstīt radošās nozares. Kāpēc pilsētām vajadzētu atbalstīt radošās nozares?
Šajā projektā apvienojušās 11 Eiropas pilsētas, lai gūtu jaunas zināšanas par
radošo nozaru attīstību un dalītos savās perspektīvās. Šīs pilsētas ir: Amsterdama, Barselona, Berlīne, Birmingema, Helsinki, Oslo, Rīga, Stokholma, Tallina, Viļņa un Varšava.

What role can elected members play in the setting up of a European cultural policy ?
The mechanisms of decentralization are at work in a number of countries throughout Europe. How can local and regional authorities guarantee the conditions that respect “cultural diversity” ?
What are the strategies that need to be put in place so that all the levels of local, regional and national government work together to establish cultural priorities ?
The Green Paper, has been compiled on the basis of a questionnaire sent to all the elected members who are part of the network “Les Rencontres – Association of European cities and regions for Culture”. Answers to the questions above and others enable us to appreciate the extensive role that can and should be played by local and regional governing bodies in the setting up of a “Cultural Europe”.
Elected officials confirm that culture and the arts should occupy a significant position in local, regional, national and European policymaking!

The work of Dries Verhoeven (*1976) blurs the boundaries between installation art and performance. He creates unsettling and ambiguous situations in public spaces, art institutions, and theatres, which disrupt the given relationships between spectators and performers. The book is overview of Dries Verhoeven works from 2012 until 2015 .

VERDENSTEATRET is an artist collective based in Oslo. Combining aspects of music concerts, theatrical performances, and visual art installations, the company builds many of its large scale productions from raw materials collected during journeys combined with stories of the fragile human soul. They endeavour to use a collaborative process to deeply integrate different artistic disciplines into projects that bridge the gap between artistic boarders.
This catalogue describes an exhibition Telling Orchestras and Funeral Machines created by Vernerteatert for Guangdong Museum of Art.

Rokasgrāmatā ir apkopota informācija par vides ilgtspējību un tās integrēšanu kultūrā, aicinot kultūras pasākumu radītājiem rīkoties dabai draudzīgi, lai neapdraudētu nākamo paaudžu iespējas dzīvot pilnvērtīgu dzīvi.

2018 marks the ten-year anniversary of Imagine 2020, a collaborative project on art and ecology started by a group of European cultural organizations. Over the years, the project’s focus shifted away from raising awareness about climate change, and towards speculating about a sustainable future through artistic creations that allow alternative perspectives to come to the fore. To celebrate this anniversary, Imagine 2020 invited Peter Van Bogaert on a Grand Tour, in the course of which he visited artists who had been chosen by the different organizations. And so it was that, in the spring of 2018, he met with ten artists in the cities where they live and work: Antwerp, Hamburg, Lisbon, Ljubljana, London, Lyon, Riga, Rotterdam, Terschelling and Zagreb. This book offers bits and pieces of the conversations and experiences he gathered on the road.

“Petites réflexions sur la présence de la nature en milieu urbain” is a visual booklet of performance created by Philippe Quesne and Vivarium Studio. The project explores the intersection of theatre, art, and ecology through “mini-performances” or observations of characters in highly designed environments.

“A Few Actions in Natural Environments” is artistic booklet created by Vivarium Studio, a Parisian theatre company founded by director Philippe Quesne. The project, along with other works by Quesne, explores the intersection of theatre, art, and ecology through quiet, absurd, and often absurdly charming “mini-performances” or observations of characters in highly designed environments.

“Thinking about the end of the world in costume by the sea” is a visual booklet of performance created by Philippe Quesne and Vivarium Studio.

This object interrogates the time preceding and following the festival, making visible what would otherwise remain invisible. How to Build a Manifesto for the Future of a Festival is a way to open to what is still unknown and create the conditions for the future yet to come.

How do you actually put together a festival?
What happens before the actors go on stage?
Who are the actors involved
and how do they contribute to the realization?

How to Build a Manifesto for the Future of a Festival tries to respond to these questions.
The editorial project, born out of an idea by Silvia Bottiroli and Giulia Polent, has a monthly format with four issues focusing on the Santarcangelo Festival.

Switch the Scene is the second volume of How to Build a Manifesto for the Future of a Festival. It talks about a language solicitation that we address to ourselves and the audience of readers and the one of a festival. The environment, or the context, that we imagine to construct is that place where we expect to be able to speak a language, which we can use together and translate simultaneously – in its more intimate and ancient sense of transporting – a syntax necessary to re-organize and re-organize ourselves.

Drawing on the postmodern perspective and concerns that informed her groundbreaking Terpischore in Sneakers, Sally Bane’s Writing Dancing documents the background and development of avant-garde and popular dance, analyzing individual artists, performances, and entire dance movements. With a sure grasp of shifting cultural dynamics, Banes shows how postmodern dance is integrally connected to other oppositional, often marginalized strands of dance culture, and considers how certain kinds of dance move from the margins to the mainstream.

Banes begins by considering the act of dance criticism itself, exploring its modes, methods, and underlying assumptions and examining the work of other critics. She traces the development of contemporary dance from the early work of such influential figures as Merce Cunningham and George Balanchine to such contemporary choreographers as Molissa Fenley, Karole Armitage, and Michael Clark. She analyzes the contributions of the Judson Dance Theatre and the Workers’ Dance League, the emergence of Latin postmodern dance in New York, and the impact of black jazz in Russia. In addition, Banes explores such untraditional performance modes as breakdancing and the “drunk dancing” of Fred Astaire.

Projekta ” Imagine 2020: art and climate change” izdevums, kas atspoguļo 5 gadu laikā realizētās idejas, notikumus un projektus.

Projekta ” Imagine 2020: arts and climate change” (2008-2010) publikācija. Sarunas ar māksliniekiem – John Jordan, Isa Fremeux, Anne Terese De Keersmaeker, Frederic Ferrer, Martin Nachbar, Jeroen Peeters, Via Negativa.

What is it that makes humans human? As science and technology challenge the boundaries between life and non-life, between organic and inorganic, this ancient question is more timely than ever. Acclaimed object-oriented philosopher Timothy Morton invites us to consider this philosophical issue as eminently political. In our relationship with nonhumans, we decide the fate of our humanity. Becoming human, claims Morton, actually means creating a network of kindness and solidarity with nonhuman beings, in the name of a broader understanding of reality that both includes and overcomes the notion of species. Negotiating the politics of humanity is the first crucial step in reclaiming the upper scales of ecological coexistence and resisting corporations like Monsanto and the technophilic billionaires who would rob us of our kinship with people beyond our species.

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.

Josefa Nadja iestudējums lugai “Woyzeck” Lajosa Somlosi fotogrāfijās.

“Uzņēmums: Kustības, darījumi un dzērieni” aplūko sarežģītu sociālo valūtu, vēsturi un politiku, reflektējot par vides pieejamību, pārtikas ražošanu, ikdienas kultūru un pašreizējo interesi par “kopīgu lietošanu”. Šīs idejas tiek pētītas, virzoties attiecībās starp lauku procesiem, pilsētu kopienām un zemes izmantošanu, lai izveidotu jauna tipa uzņēmumu. “Uzņēmums: Kustības, darījumi un dzērieni” mums atgādina, ka lauku un pilsētas apstākļi pēc būtības ir saistīti dažādos veidos, un grāmata seko projekta produktīvajam un reproduktīvajam ciklam, lai aprakstītu un paplašinātu dažādus iznākumus un prakses.

Collection of articles, which at the same time is also the catalogue of the exhibition Visionary Structures. From Johansons to Johansons traces a glowing trajectory in Latvian art – a look at the most experimental and visionary artistic values of their day and their historical transformations. It is an encounter between artists and artworks belonging to different eras, yet allowing the viewer to perceive the legacy of ideas and common currents in the flow of art that have developed over time.

“No More Drama” aims to take the chill off the terms postdramatic, documentary and avant-garde. A collection of descriptive and illuminating essays on the work of international artists such as Pan Pan Theatre Company, Rimini Protokoll, Lola Arias, Philippe Quesne, Richard Maxwell, Elevator Repair Service, Nature Theater Oklahoma, Quarantine, Krétakör and others, it is about how theatre is making meaning of the world – without making a drama about it.

“WEST” it’s a project to develop in the cities of the West used as a contact surface for a set of deaths following one another while everything streams on the tracks of a planet that includes them. Travels are expected to the different cities where what takes place is the immortalization of the represented construction of acts of dying through the support of a video-camera followed by the editing of those images, those deaths.

The book shows photography by Herman Sorgeloos on Rosas, Anne Teresa De Keersmaeker’s dance company. Herman Sorgeloos’ photographs are of a pure simplicity and power and fit seamlessly into the atmosphere of Anne de Keersmaeker’s choreographies.

“Performative! Performance Arts in Switzerland” is a reader providing information on the present-day situation of the performative arts in Switzerland. It discusses forms of performative work and describes places and media important to performance practitioners and the Swiss arts scene. It also surveys the traditional platforms – theatre, ballet, dance theatre, new art music, jazz, poetry slams – that have fostered the expansion of the performative arts.
The publication presents observations and thought-provoking insights by nine authors who illuminate performativity in the arts from very different perspectives and under the aspect of different artistic genres and media in the hope of renewing reflection on the concept of performance. The tenth article touches on institutional and economic questions, outlining the conditions of production for the performance arts in Switzerland today.

Informatīva grāmatiņa, kurā apkopota informācija par Polijas kultūrvietām un festivāliem, kas visspilgtāk raksturo Polijas teātra kultūru.

For two months Jan Lauwers showed his visual work in a solo exhibition entitled “Restlessness”, curated by Jérôme Sans at the Centre for Fine Arts in Brussels.
This exhibition was accompanied by a substantial volume on Lauwers’ art work, focusing on the period from 1996 to 2006.

I use as many different means of expression as I possibly can. At first I found that frustrating; now I see it as a blessing. I am no longer afraid of it. The restlessness it causes serves as a driving force. Every medium raises different questions. In visual art you have to destroy your virtuosity, while in the theatre world you have to foster it.
Extract from an interview with Jérôme Sans

Live Art, or performance, is one of the most controversial and hotly discussed areas of art practice to emerge in the second half of the twentieth century. The history of Live Art is one of challenge to audiences, art traditions and cultural values. With elements of performance now part of the practice of many of today’s best-known artists, and boundaries between visual art, theatre and live art more and more blurred, this collection is long overdue. Leading artists and thinkers assess the relevance of Live Art now and its impact within the visual arts and the broader cultural sphere.

This is the first book-length collection to focus on the performance and theatre work of Lone Twin – Gregg Whelan and Gary Winters – a duo recognised internationally as one of the UK’s most inventive performance collaborations.
Over the past decade they have made over thirty projects located at the cusp of live art, theatre, and performance writing, travelling the world with theatre shows, collaborative public projects, durational events and a six-year cycle of performances about bodies, water, journeys, and chance encounters.
The book contextualises, documents and analyses Lone Twin’s work. It explores their interest in live performance, journeys, places, language, narrative and image, and includes original interviews, essays, performance texts and photographs.

This publication shows how an alternative management company functions on the one hand and on the other hand it offer the possibility to a dozen talented artists to profile themselves in an original way. An extensive archive provides a chronological overview of all completed projects (75) and collaborations between 2003-2013.

“Studijas bibliotēkas” sērijā grāmata par scenogrāfi un mākslinieci Moniku Pormali.

Latvijas mākslā viņa ienāca 90. gadu beigās ar instalācijām, foto un video darbiem. Atpazīstamību pasaulē Monikas Pormales darbi ieguva, strādājot kopā ar režisoru Alvi Hermani: gan viesojoties ar Jaunā Rīgas teātra izrādēm Eiropā, Amerikā un Āzijā, gan veidojot izrādes Frankfurtes teātrī, Rūras triennālē, Maskavas Nāciju teātrī, Ķelnes teātrī, Vīnes Burgtheater, Minhenes kamerteātrī.

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.

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.

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.

“The International Village Show” is a comprehensive works exhibition and a monograph of the international group of female artists Myvillages, which was founded by Wapke Feenstra (Rotterdam), Kathrin Böhm (London), and Antje Schiffers (Berlin). The focus of their attention is rural space as a contemporary cultural space, as well as historical and current urban-rural relations. The artists, 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.
The book is based on Myvillages’ two-year solo exhibition “International Village Show” at the Gallery of Contemporary Art Leipzig (2015–16). The exhibition in the specifically converted garden house provides a comprehensive overview of their varied work worldwide.

Uzmanības centrā ir lauku telpa kā mūsdienu kultūras telpa, kā arī vēsturiskās un pašreizējās pilsētu un lauku attiecības. Mākslinieces Katrina Bēma (Kathrin Böhm), Vapke Fēnstra (Wapke Feenstra) un Antje Šifera (Antje Schiffers) uzaugušas laukos, un kopš 2003. gada strādā lauku apvidos Eiropā un ārpus tās, piedaloties izstādēs, darbnīcās un sadarbības projektos, kuros vietējai ražošanai un kultūrai joprojām ir liela nozīme.

Vadošā Eiropas mūsdienu teātra pētnieka Floriana Malcahera un Miriamas Drīses monogrāfija par vācu-šveiciešu dokumentālā teātra apvienību Rimini Protokoll. Angļu un vācu valodā ar krāsainām ilustrācijām.

This book is a journey: to places of inspiration, backstage, archives, notebooks, text worlds and thus through the more than 120 productions (theatre, radio plays, films, installations, …) by Rimini Protokoll. It is also an attempt to summarise the oevre after twenty years of artistic collaboration in groups of works, to lay new tracks – not just to document them chronologically but to watch the sparks fly. Edited by Imanuel Schipper, long-time companion and dramaturge of many Rimini Protokoll productions.

This publication documents a project inspired by Bradbury’s Fahrenheit 451, in which performers memorize a book to form a collection of living books to be read in libraries by visitors. The publication brings together eighteen text contributions from artists and theoreticians, and a visual essay. Texts by Mette Edvardsen, Kristien Van den Brande, Johan Sonnenschein, Bruno De Wachter, Sébastien Hendrickx, Lizzie Thomson, Sébastien Hendrickx, Victoria Pérez Royo, Jon Refsdal Moe, Bojana Cvejić, Melanie Fieldseth, Jeroen Peeters, Lara Khalidi, Emiliano Battista, Thomas Bîrzan, Susanne Christensen, Olivia Fairweather, Laurence Rassel.

Amerikāņu teātra apvienība Nature Theater of Oklahoma (NTO) tika dibināta 2004. gada Ņurjorkā un ir viena no savdabīgākajām, radikālākajām, smieklīgākajām, dziļi meklējošajām mūsu laiku teātra kompānijām. Rūpīgā izpētē balstītā un bagātīgi ilustrētā Floriana Malcahera grāmata ir pirmā monogrāfija, kas tapusi par šo leģendāro apvienību un iekļauj dažādu autoru esejas, citu mākslinieku stāstus par NTO un pašu NTO dibinātāju Kellijas Kūperes un Pavola Liškas tekstus.

“Eiropas triloģija” ir viens no iespaidīgākajiem pazīstamā šveiciešu režisora Milo Rau teātra darbiem, kura pirmā daļa tika radīta 2014. gadā. Kritika to nodēvējusi par Eiropas “politisko psihoanalīzi”, bet reizē arī par “dziļu meditāciju par teātra dabu”. Grāmtā apkopoti izrāžu teksti un sarunas. Vācu un angļu valodā.

Catalogue of the exhibition La Solitude proposed by Katrina Neiburga in the experimental space of the plateau, frac île-de-france.

Grāmata angļu un vācu valodā par britu teātra kompāniju Forced Entertainment (dibinātājs un vadītājs Tims Etčels). Forced Entertainment ir eksperimentālā teātra un performances pionieri, kas guvuši milzu panākumus visā pasaulē. Šī grāmata ir pirmais nopietnais mēģinājums analizēt kompānijas daiļradi. Tā apkopo dažādu autoru esejas ar akadēmisku un māksliniecisku ievirzi.

Kopš pirmās izrādes pirms 20 gadiem beļģu mākslinieks Jans Lauverss un viņa vadītā Needcompany ir kļuvuši par laikmetīgās skatuves mākslas un post-dramatiskā teātra ikonu un rosinājuši izcilu teātra kritikas materiālu tapšanu. Šī grāmata ir kritisku eseju krājums par prominento starptautisko kompāniju, kuras mājvieta ir Brisele. Eseju autori Hanss Lēmans, Mārvins Karlsons, Žoržs Banu un citi darbojas dažādas jomās – teātrī un teātra zinātnē, salīdzinošajā literatūrā, filosofijā, kultūras socioloģijā.

The work of Dries Verhoeven (*1976) blurs the boundaries between installation art and performance. He creates unsettling and ambiguous situations in public spaces, art institutions, and theatres, which disrupt the given relationships between spectators and performers. In doubt, his first monograph contextualizes his latest creations among earlier works. The large format book includes essays by author Christiaan Weijts, theatre and performance scholar Maaike Bleeker, as well as critic Evelyne Coussens, iIlluminating Verhoeven’s witty sidestepping of the conventions of the various disciplines.

“Hello Stranger” features world-famous theater group Motus, whose hybrid work has unhinged dramaturgy since the early ’90s. The volume documents the company members and critics that have fed the crazy, expansive and wild theatrical challenges of the company’s last 25 years.

The book offers a comprehensive overview of postwar theatrical life in the USSR. It provides a heartfelt and detailed account of the creative work, ideas, and productions.

Izcilā poļu režisora Tadeuša Kantora eseju un manifestu krājums.

Izstāde E. Smiļģa Teātra muzejā no 2013. gada 24. oktobra līdz 2014. gada 31. maijam.

Each of our FIELD residencies has led to a publication, with contributions from each of the participant artists and some of the guests who have joined our conversations. They mark a moment in time, reflect hopes and challenges, and map possible paths. Some contributions are playful; some are serious. They reflect the diversity of participants’ experiences, artforms, concerns and ambitions. All the books are illustrated with Katherina Radeva’s drawings made in response to each residency.

Filled with the ambition for change which characterised the early pandemic, this was the inaugural FIELD publication.

Contributions from Lisette Auton, Emma Beverley, Umar Butt, Kate Craddock, Brendan Curtis, Emma Geraghty, Adam York Gregory, Ellie Harrison, Katie Hickman, Lady Kitt, Alister Lownie, Krissi Musiol, Toni-Dee Paul, Katherina Radeva, Chloe Smith, Hannah Sullivan, Jo Verrent, Rich Warburton and Ben Wright. Edited by Alister Lownie with illustrations by Katherina Radeva.

A photo album dedicated to Grzegorz Jarzyna – “Jarzyna: Teatr/Theatre”, in what is collected photos from hes performances.

With “Epitaph” Romeo Castellucci presents the history of the group in which his children grew up, enriching it, however, with other perspectives, thanks to a pictorial tension that is at once memory, creation, and progress: an art book to be viewed as a performance.

Ilustrācijām bagāts izdevums par kanādiešu režisora un mākslinieka Roberta Lepāža un viņa kompānijas Ex Machina darbu kopš 1993.gada līdz mūsdienām.

“Ins & Outs: A Field Analysis of the Performing Arts in Flanders” describes trends that have greatly benefited the performing arts sector. Yet these trends also raise urgent questions. How should we respond to these changes? Does the current policy and organisational framework offer a good basis for a sustainable practice? Is there sufficient balance between individual players and institutions, between continuity and innovation? Numerical analyses are complemented by essays from guest contributors and interviews by and with performing artists. All of them offer new outlines for a more sustainable practice and policy in the world of performing arts.

The catalog is about a theatre, opera, and movie director, artistic director of TR Warszawa, Grzegorz Jarzyna, and his 16 plays.

Bagātīgi un skaisti ilustrēta grāmata, kas aptver nu jau ikoniskās beļģu dejas kompānijas Les Ballets C de la B 22 gadu darbības laiku no 1984.līdz 2006.gadam. Kompāniju kopā ar dažiem draugiem nodibināja Alans Platēls, kas toreiz strādāja kā fizioterpeits un veidoja mājas izrādes viesistabā. Les Ballets C da la B kopš tā laika ir kļuvusi par vienu no vadošajām dejas kompānijām pasaule, kas turpina veidot jaunas izrādes un fascinē ar savu eklektisko stilu un virtuozajiem dejotājiem. Grāmatā ietvertas Alana Platēla intervijas ar četriem svarīgiem kompānijas sadarbības partneriem – dramaturgiem un kritiķiem, kas atsauc atmiņā konkrētā laika kontekstu un sniedz skatu no malas.

Ilustrēts izdevums, kas skaidro Socìetas Raffaello Sanzio leģendārā izrāžu cikla Tragedia Endogonidia tapšanu un idejas. Grāmatā publicētas arī vairākas Societas Raffaello Sanzio mākslinieku sarunas par dažādām tēmām.

Ilustrēts albums par dāņu kompānijas Hotel Pro Forma daiļradi.

“The Swedish Dance History” is not recording history and has nothing to do with Sweden. It is a machine creating history right now, right here: across nations, styles and cultural policies.

“The Swedish Dance History” is a book, a document of a future to come, and a power tool – something you can hit people with, hold on to when life turns its darker side – but most of all it is an empowering aggregate that connects all of us that does and creates dance. There are no lonely choreographers any more, every dance is a collective movement.

Grāmatā izlasāmas desmit vācu dramaturgu (Игорь Бауэршима, Лукас Бэрфус, Констанция Денниг, Фриц Катер, Хельмут Крауссер, Ингрид Лаузунд, Ульрика Сиха, Аня Хиллинг, Роланд Шиммельпфенниг, Катарина Шлендер) lugas krievu valodā.

Offering the first collection of modern Dutch and Flemish plays to appear in English, this volume presents a cross-section of the best – and most representative – drama from the Low Countries in the 1980s and 1990s.

The book consists of English translations of plays by eight contemporary Croatian playwrights born between 1961 and 1975.

The play reveals the life of a woman from one family – the wife and mother – who lives a completely different version of her fate in another city; a much more interesting, riskier, and more sexual version.

“Art” is a one-act play by Yasmina Reza, set in a Paris apartment shared by three friends: Serge, Marc, and Yvan. The plot centers around the contentious purchase of a minimalist painting, essentially a white canvas, which Serge buys for a substantial sum. This acquisition ignites a heated debate among the friends about the value of contemporary art, friendship, and personal integrity. Marc dismisses Serge’s purchase as foolish, while Yvan attempts to remain neutral, aiming to keep peace between the two. The play explores themes of jealousy, insecurity, and the subjective nature of art, illustrating how personal relationships can become strained over seemingly trivial matters.

Grāmatā apkopoti Latvijas, Igaunijas un Polijas sieviešu personiski stāsti no “Lietisko pierādījumu muzeja” kolekcijas un latviešu un britu literātu jaunradīta dzeja par vardarbību ģimenē.

Play description: Áron and Lacika live an easy life of petty crime, stealing and selling on whatever they can get their hands on. Both of them would also like to lay hands on Móni but she’s having none of it. Things get a bit tricky when the three of them unknowingly steal the beloved car of big-time Mafioso Sing-Song…. A dry, quirky, fast, rude and extremely funny snapshot of the urban scene in Hungary today.

The eleven pieces in this anthology of Polish plays dive deep into complex subjects such as Poland’s loss since the Holocaust, its difficult postwar relations with Germany, the social metamorphoses since the political upheaval of 1989, and the needs of Polish families and youth since the nation’s transition to a free-market economy.

Britu kompānijas Forced Entertainment dibinātāja, režisora un publicista Tima Etčelsa romāns.

An exploration of the practice of inventing languages, from speaking in tongues to utopian schemes of universality to the discoveries of modern linguistics. In Imaginary Languages, Marina Yaguello explores the history and practice of inventing languages, from religious speaking in tongues to politically utopian schemes of universality to the discoveries of modern linguistics. She looks for imagined languages that are autonomous systems, complete unto themselves and meant for communal use; imaginary, and therefore unlike both natural languages and historically attested languages; and products of an individual effort to lay hold of language. Inventors of languages, Yaguello writes, are madly in love: they love an object that belongs to them only to the extent that they also share it with a community.

The articles cover such topics as socio-political processes in performing arts, changes in the understanding of theatre space, digimodernism, newcomers to Latvian theatre, education, performance genre, contemporary choreography in relations with theatre, development of the festival “Homo Novus” in the light of Krista Burāne’s artwork, comparisson between tradition of stagging classical plays in Latvia and Lithuania, the multifunctionality of contemporary theatre in society and many more. The reader has the opportunity to visit creative laboratory of dramaturg Jānis Balodis and find out what seven Latvian directors think about theatre in the age of changing rules – Elmārs Seņkovs, Regnārs Vaivars, Inga Tropa, Vladislavs Nastavševs, Klāvs Mellis and Alvis Hermanis. The collection concludes with basic information about professional theatres, companies and major festivals operating in Latvia in 2020

Grāmata ir veltīta mūsdienu slovāku drāmai un piedāvā ārvalstu lasītājiem iespēju iepazīt mūsdienu slovāku drāmas pārstāvjus. Tajā ir iekļauts profesionāls pētījums par mūsdienu slovāku drāmas attīstības tendencēm, virzieniem un stāvokli, kā arī alfabētiskā secībā sakārtoti trīsdesmit trīs atlasītu slovāku dramaturgu portreti.

Grāmatā apskatītas laikmetīgās daramaturģijas prakses, parādot dažādos veidus, kā dramaturģija darbojas šodienas teātrī un dejā. Piemēri no tādām kompanijām kā Les ballets C de la B, The National Theatre London, Schaubuhne Berlin, Akram Khan Company u.c.

Grāmata ir mēģinājums apzināt ainavas daudzšķautņaino dabu un iezīmēt ainavu arhitekta profesijas darbības virzienus. Deviņās nodaļās radošā komanda dalās ar novērojumiem un atziņām par sociālo, dziedinošo, pilsētvides, kultūras un mākslas, nākotnes, dzīvošanas un strādāšanas, ekoloģisko, pētniecisko ainavu.

The book follows artists, analysts and activists on their cultural quests for an ecologically sustainable future. Introduces artistic concepts, practices, organizations and cultural communities that stand for moving away from the prevailing anthropocentric approaches. Argues for a new and global culture of solidarity and respect, in which the awareness of the equal part of humans and other (non-)living components in our biosphere is central.

Digital Theatre – A Casebook explores the digital shift and how it changes how we create, share, and monetise content, including theatrical works. European theatre increases civic engagement by bringing theatre to new audiences and sectors. New developments in digital theatre and technologies can break down barriers, encourage dialogue, and help Europe’s rich cultural tradition thrive.

It shares insights gained during the EU-funded project, ‘Future Laboratory – A Performing Arts Network Connecting Artists and Audiences to Find the European Narratives of Tomorrow’. This connected 15 emerging artists with 12 partner organisations from 10 European countries to explore innovative approaches to artistic research and develop dialogue with underrepresented communities to identify the missing stories on European stages.

Fabulamundi New Voices: Diversifying Theatre — A Casebook captures reflections and models from a bold European project that placed emerging voices and inclusive creation at its core. It explores the questions: How can we nurture the next generation of playwrights in a rapidly changing Europe? How do we open up theatre to new voices and ensure contemporary dramaturgy reflects the diversity of today’s societies?

the Casebook documents innovative practices that push the boundaries of how theatre can respond to the climate crisis – artistically, organisationally, and technologically. It offers a comprehensive look at how the performing arts sector can integrate ecological thinking into all aspects of production and touring.

1981. gada grāmata „Leļļu teātris” ir veltīta teātra izveides vēsturei, tā izcilajām izrādēm, aktieriem un lellēm, kas atdzīvojās uz skatuves. Ilustrācijas, arhīva fotogrāfijas un detalizēti izrāžu apraksti ļauj iejusties burvīgajā atmosfērā, kas valdīja teātra telpās.

Bagātīgi ilustrēta grāmata par gruzīnu mākslinieku, leļļu meistaru un kino scenāristu Rezo Gabriadzi un viņa marionešu teātri.

Brīnišķīgs albums ar krāsainām bildēm, kas atspoguļo leļļu un objektu teātra vēsturi visā tā daudzveidībā. Šī grāmata aplūko leļļu teātri, analizējot leļļu unikālos raksturus un spējas un neskaitāmās lomas, ko tās ir spēlējušas dažādās pasaules sabiedrībās. Lelles ir neticami dažādās, tās atspoguļo dažādas kultūras un tradīcijas, vidi un nereti arī savu radītāju ekscentrisko personību. Bagātīgi ilustrēta informācija par leļļu teātri Krievijā, Eiropā, Āzijā, Afrikā, Dienvidamerikā no senatnes līdz mūsdienām.

Animated Advances, the second volume in our ongoing series Animations in Print, focuses on continuing professional development.

A chronological documentation that captures the essence of a group that did not codify a language by freezing it in place, but rather spun it through the expressions and representations of a present-day imagination, bringing new questions to the table each time. A book that, through the chronological progression of events, embraces the “inside” and “outside” of representation with contributions by Fabio Acca, Lucia Amara, Carlo Antonelli, Silvia Fanti, Goffredo Fofi, Joe Kelleher, Andrea Lissoni, Snejanka Mihaylova, Andrea Nanni, Maria Antonia Rinaldi, Paolo Ruffini, Rodolfo Sacchettini, and Mårten Spångberg.

Krājumā aplūkoti notikumi no Latvijas brīvvalsts atjaunošanas līdz 2016. gadam. Tādejādi izceļot notikumus, kas bija mākslinieciski augstvērtīgi, stiprināja dejas mākslas statusu Latvijā un ielika pamatu tam, lai dejas mākslai būtu sava balva.

“Testimoni de llops” is, originally, a performance growing out of the close relationship between the dance company Mal Pelo, a formation created by María Muñoz and Pep Ramis, a creative group dedicated to research into the language of per-formance, starting from the body, to speak only of dance in this case would be too exclusive-, and the writer, John Berger, one of the most original authors in Anglo-Saxon literature, and the author, among other things, of deep and beautiful analyses on art and literature.
The collaboration between the creators has produced a surprising work, where word, dance and music are united, a performance moving between the language of dance and the language of theatre, and where both, at particular moments, may become fused together. “Testimoni de llops” speaks of the human condition, and starts out from the reflections made by a group of people “through the memory, the memory of the ancient animal that we are”, as its creators explain.

The “Superorganism” storybook narrates the transformative journey of artists, curators, and communities involved in the “Magic Carpets” residencies from 2021 to 2024. Conceived by five visionary curators, it explores themes of creativity, collaboration, and community within the art world. Divided into chapters, the storybook celebrates art’s power to connect, transform, and inspire, The Storybook narrates the transformative journey of artists, curators, and communities involved in the “Magic Carpets” residencies from 2021 to 2024. This collaborative book, conceived by a team of five visionary curators, captures the incredible work, projects, and ideas that define our platform, showcasing the diverse voices that shape our community. This Storybook aims to reflect the innovative spirit of “Magic Carpets”, celebrating creativity, collaboration, and community within the art world. It serves as a comprehensive record of our collective achievements, illustrating the power of art to connect, transform, and inspire.

“CITA VERSIJA: Domāšana caur performēšanu” (“ANOTHER VERSION: Thinking Through Performing”) sastāv no septiņām daļām jeb brošūrām; pieejas pamatā citādiskošanas metode: kā radīt dažādas versijas, kuras par tādām varētu dēvēt? Brošūru krājumā tiek pētītas tehnoloģijas un procesi, kas rada šādas versijas, un uzdod jautājumu par to, kā saprast sevi šajā daudzveidībā.

“l’animal a l’esquena” documents the imaginary world of Mal Pelo. In producing this book, they wanted to reflect on the different aspects of creation and the themes that have been essential in nurturing the group’s artistic work.
They present the materials without following any particular chronological order, in free association, recreating the contents. Some precede the creations themselves, others come out of them; and finally there are Jordi Bover’s photographs, which are the projection of a particular view over the stage experience of all these materials. They present them in this way in order that the reader can let imagination run and make his own associations, just as they hope the spectator will do on coming to see their performances.

“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 dance.

Esejists un dramaturgs profesors Andre Lepecki analizē mūsdienu nozīmīgāko horeogrāfu darbus, kuri sākot ar 1990.gadu izmainīja laikmetīgas dejas ainu Eiropā un Amerikā. Grāmatā apskatīti Žeroma Bela, Ksavjē Leruā, La Ribotas, Huana Domingeza, Veras Mantero un Trišas Braunas darbi.

Autors apskata nesenās desmitgades eksperimentālo horeogrāfiju, atklājot izrādes duālo nozīmi 21. gadsimtā, kur tā ir ne tikai estētiska kategorija, bet arī politiskās varas veids. Grāmatā tiek apskatīti Metes Ingvartsenas, Ivonnas Raineres, Ralfa Lemona, Žeroma Bela un citu horeogrāfu darbi.

“Documents de Dansa i Teatre” is dedicated entirely to the second edition of “Radicals Lliure” (contemporary and experimental performing arts festival), a showcase cycle for contemporary and experimental performing arts. It contains 11 individual articles, each focusing on one of the eleven experimental shows programmed for 2008 “Radicals Lliure”.

Pirmais izdevums angļu valodā par vācu horeogrāfes Pīnas Baušas darbību sniedz pārskatu par Baušas izrādēm un darba metodēm, tai skaitā vēsturisko un māksliniecisko kontekstu Baušas darbam, citātus un interviju ar pašu horeogrāfu, viņas leģendārā darba Kontakthof detalizētu analīzi, kā arī praktiskus uzdevumus, kas veidoti, pamatojoties uz Baušas darba metodēm ar dejotājiem, aktiriem un studentiem. Grāmatā ir melnbaltas Baušas darbu ilustrācijas.

Deju izrādes “Blush” katalogs, kas veidots 2002. gada pasaules pirmizrādei.

“Dialoge” projects are brief, intensive encounters between musicians, visual artists, dancers, and choreographers, each taking place in very specific spaces, and serve as creative hubs for Sasha Waltz’s work.

“Free Gestures” is a choreographic exhibition, activated by a group of dancers for five hours each day. The starting point is the question of how ideologies become incorporated into our bodies and language. Here, it is not the performers’ bodies or objects that are the works of art, but rather the performed texts, gestures, and movement.

P.A.R.T.S. dejas skolas Briselē 20. gadu jubilejas izdevumā ir apkopoti portreti un intervijas par radošo praksi ar 50 skolas absolventiem – gan jauniem, gan jau atzītiem horeogrāfiem un dejotājiem.

2005. gada martā Vīnē notika starptautisks kongress “Inventur: Tanz und Performance”, kurā piedalījās vairāk nekā 40 mūsdienu dejas un performances teorētiķi un praktiķi no visas Eiropas. Viņi rādīja savus darbus un sarunājās par tiem. Krājumā ir apkopotas kongresa laikā notikušās sarunas un diskusijas par dažādām tēmām, tai skaitā skatītāja loma, konceptuālā deja, laboratorijas un izpēte, performances politika u.c. Kongresā piedalījās tādas mūsdienu dejas un performances zvaigznes kā Žeroms Bels, Bojana Cvejiča, Emils Hrvatins, Loisa Keidana, Ksavjē Leruā, Jans Ritsemā, Bojana Kunsta, Gorans Sergejs Pristašs un daudzi citi.

With photographs by Lisa Rastl, texts by Willi Dorner and Franz Thalmair, and a conversation between Andrea Amort, Willi Dorner and Rainer Hofmann.

Viennese choreographer Willi Dorner’s Bodies in Urban Space takes us on a walk through the urban landscape. Along routes choreographed by Dorner, a troupe of local dancers and acrobats moves through downtown areas of cities worldwide, intertwining and stacking their bodies in doorways or above architraves, on landings or park benches.

Apjomīgā, bagātīgi ilustrētā grāmata aplūko 100 gadu periodu baleta, modernās dejas un avangarda attīstībā Eiropā un Ziemeļamerikā, analizējot arī tādas formas kā balles deja, stepa deja un džeza deja.

Ieskats Tulūzas horeogrāfijas attīstības centra 20 gadu darbībā no 1995 – 2015.

“Horeogrāfa rokasgrāmata” ir atzītā britu horeogrāfa Džonatana Barouza piezīmes par gandrīz visu, ar ko nākas saskarties, veidojot dejas izrādi. Asprātīgs un iedvesmojošs vēstījums gan horeogrāfiem, gan skatītājiem.

Grāmata un 4 DVD ar intervijām angļu valodā.

Anne Teresa De Keersmaeker is one of the most prominent choreographers in contemporary dance. Her 1982 debut with Fase immediately attracted the attention of the international dance scene; since then, De Keersmaeker and her company, Rosas, have created an impressive series of choreographic works that have been described as “pure writing with movement in time and space.” This book explores four of Rosas’ early works, Fase, Rosas danst Rosas, Elena’​s Aria, and Bartók, through sketches, notes in reviews, and photographs.

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.

Šī grāmata ir izzinošs materiāls jebkuram, kam interesē butō kā fenomens. Apjomīgais rakstu krājums sakārtots 3 nodaļās. I nodaļa apskata butō vēsturi un estētiku, II nodaļa iepazīstina ar autoru pētījumiem par butō mijiedarbību ar dažādām mākslas, terapijas un budisma formām, III nodaļa atklāj butō ietekmes un izpausmes Baltijas kultūrtelpā.

Oksfordas Dejas vārdnīca ietver plašu informāciju par dejas stiliem, horeogrāfiem, dejotājiem, tehniku, terminiem, kompānijām un izrādēm.

Through the concept of “social choreography” Andrew Hewitt demonstrates how choreography has served not only as metaphor for modernity but also as a structuring blueprint for thinking about and shaping modern social organization. Bringing dance history and critical theory together, he shows that ideology needs to be understood as something embodied and practiced, not just as an abstract form of consciousness. Linking dance and the aesthetics of everyday movement—such as walking, stumbling, and laughter—to historical ideals of social order, he provides a powerful exposition of Marxist debates about the relation of ideology and aesthetics.

Illusion, simulation, immersion and appropriation are among the central design strategies in contemporary (mediated) spatial practice in scenographies of the theatre, architecture and art – with complex relationships to truth/reality, representation and mimesis.

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 plays in this volume reflect the uncertainty accompanying
social transformations in the new millennium. They have
all been very popular with Finnish and international audiences.
The plays explore universal themes such as crises in identity,
love relationships, problems of unemployment, dysfunctional
families, alcohol abuse, and the questioning of moral and spiritual
values. They have been chosen for this anthology on the basis of
their international appeal as much as their aesthetic and dramatic
quality.

4. izdevums sērijā Performing Urgency, kas pievēršās aktuāliem jautājumiem par šī brīža teātra attiecībām ar politisko un sociālo realitāti. Grāmatā iekļauti vairāki interesanti teksti par vienu no jaunākajiem nozares diskursiem – dzīvo jeb skatuves mākslu “kūrēšanu”. Autoru vidū ir vadošie šīs tendences pārstāvji, teorētiķi, praktiķi un pasniedzēji.

Būtiskākā grāmata par jaunajām teātra formām, kas ir attīstījušās kopš sešdesmitajiem gadiem un ir kļuvušas par atslēgas vārdiem starptautiskajā diskusijā par mūsdienu teātri. Neskatoties uz postdramatiskā teātra daudzveidību, tam ir viena kopīga un ļoti būtiska iezīme: postdramatiskā teātra uzmanības centrā vairs nav dramatiskais teksts. Drāmas un teātra teorijas un vēstures kontekstā autors analizē mūsdienu eksperimentālo teātri un tā galvenos pārstāvjus – Robertu Vilsonu, Tadeušu Kantoru, Haineru Milleru, The Wooster Group, Needcompany, Societas Raffaello Sanzio un citus. Hanss Lēmans ir teātra profesors Gētes universitātē Frankfurtē.

Providing thorough coverage of the methods and tools required in studying historical and contemporary theatre, this Introduction examines the complexities of a rapidly changing and dynamic discipline. Following a cross-cultural perspective, the book surveys the ways theatre and performance are studied by looking initially at key elements such as performers, spectators and space. The book covers all the main theatrical genres – drama, opera and dance – providing students with a comparative, integrated perspective.

Katalogs ietver astoņu valstu (Latvijas, Lietuvas, Igaunijas, Somijas, Zviedrijas, Norvēģijas, Dānijas un Islandes) autoru tekstus par dejas kritikas problēmām un dažādiem procesiem dejā. Izdevums arī sniedz ieskatu projekta “keðja Writing Movement” norisē un piedāvā sarunas ar visu iesaistīto valstu partneriem par situāciju dejā un dejas kritikā.

Grāmatā aizraujošā un saprotamā valodā, vienlaikus arī konspektīvi, apskatīti dažādi starptautiskās kultūras sadarbības veidošanas aspekti – gan vēsturiskā perspektīva, gan nacionālās atšķirības, gan ekonomisko un politisko faktoru nozīmība, gan dažādi veidi, kā organizēt starptautisko kultūras sadarbību – viesturnejas, festivālus, rezidenču programmas u.c. Tajā ir aplūkots, kā iecerēto projektu realizēt – sākot no tā ieceres un plānošanas līdz pat finansējuma piesaistei. Ceļvedis ir labs mācību palīglīdzeklis kultūras vadības, kā arī citu nozaru kultūras un mākslas studiju programmu studentiem un pasniedzējiem.

This concise guidebook explains the purpose and expected benefits of international cultural cooperation, its risks and strategic issues, models and success factors. International cultural cooperation is analyzed here as a trajectory of professional development of individual and institutional operators and as a strategy to build an integrated, inclusive cultural space that will enhance the notion of European citizenship. Examples are offered from all parts of Europe and all disciplines. Cultural cooperation has been traditionally conceived as a matter of national governments and national cultural and foreign policy, not in a broad supranational perspective and not from the point of view of cultural operators themselves. Students previously had to rely on occasional articles and some governmental and academic studies of a rather narrow focus and national perspective.

The Twentieth Century Performance Reader is the key introductory text to all types of performance. Extracts from fifty practitioners, critics and theorists from the fields of dance, drama, music, theatre and live art make up an essential sourcebook for students, researchers and practitioners.

What is implied when we refer to the study of performing arts as ‘drama’, ‘theatre’ or ‘performance’? Each term identifies a different tradition of thought and offers different possibilities to the student or practitioner. This book examines the history and use of the terms and investigates the different philosophies, politics, languages and institutions with which they are associated.

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.

Here, in dazzling red and black words and pictures, is an all-purpose guide that shows how to bring about effective social change by combining the emotional power of the arts with the strategic planning of activism. Join the co-founders of the Center for Artistic Activism as they draw lessons from pop culture and mainstream marketing, delve into explorative teachings on ethics and evaluation, and set out the promises and pitfalls of the creative process and utopian thinking. The Art of Activism brings together the authors’ extensive practical knowledge—gleaned from over a decade’s experience training activists around the world—with theoretical insights from fields as far-ranging as cultural studies and cognitive science. From the United Farm Workers’ boycott movement in sixties’ California to a canal-side beach in present-day Saint Petersburg, these pages are packed with contemporary and historical case studies that have been shown to work in practice.

As Frantic Assembly move into their twentieth year of producing innovative and adventurous theatre, this new edition of their well-loved book demystifies the process of devising theatre in an unusually candid way. Artistic directors Scott Graham and Steven Hoggett offer an intimate and invaluable insight into their evolution and success, in the hope that sharing their experiences of devising theatre will encourage and inspire students and fellow practitioners.

During seven years, 16 performers spread “Lecture For Every One” throughout Europe. They intervened in more than 300 different gatherings, from a corporate sales meeting to a brass-band rehearsal and a municipal council. As uninvited guests, they addressed every one with exactly the same text. Until now, the project has remained largely invisible to the wider public. This book now sheds light on the information and expertise Lecture For Every One has generated―feedback, stories and memories from a range of perspectives. It reflects on how places where people gather can become political instances, on the (im)possibility of addressing every one, and on the value of fiction in our daily lives.

Against Everything is a thought-provoking study and essential guide to the vicissitudes of everyday life under twenty-first-century capitalism. Mark Greif challenges us to rethink the ordinary world and take life seriously – in short, to stay honest in dishonest times. In a series of coruscating set pieces he asks why we put ourselves through the pains of exercise, what our concerns about diet or sex does for our fundamental worth, what political identity the hipster might possess, and what happens to us when we listen to Radiohead or hip-hop.

This volume is a collection of scholarly articles and interviews with intermedial artists working with the concepts of public sphere at the intersection of aesthetics and politics. It explores the response of socially-engaged artistic practices to the current crisis in politics and media. It also critically examines urgent issues such as rampant nationalism and populism, expanding neoliberalism, the refugee crisis, growing inosculations of corporate and cyber culture, and the ongoing geopolitical changes in the Middle East. Can intermedial performances reflect the present artistic and political dilemmas in Europe and beyond?

The papers in this book examine possible shifts in the integration of new technologies and digital culture in the processes of affirming cultural diversity and intercultural communication by presenting different case studies and trend analyses – examining the changes brought about by the new context of the interactive and participatory Internet and the responses of the cultural sector to them, and analysing how cultural policies deal with digital culture. By providing insights into these interrelated aspects, the book is trying to answer the question – can we talk about cultural diversity in the digital domain and what are the current trends? To understand the interrelation of the local and the global, the articles in this book analyse existing practices in the digital realm. The SEE context is analysed in one part of this book, thus providing evidence-based research of digital diversity trends and informing cultural policies in the SEE region.

This collection gathers a set of provocative essays that sketch innovative and interdisciplinary approaches to Genre Theory in the 21st century. Focusing on the interaction between tragedy and comedy, both renowned and emerging scholarly and creative voices from philosophy, theater, literature, and cultural studies come together to engage in dialogues that reconfigure genre as social, communal, and affective. In revisiting the challenges to aesthetic categorization over the course of the 20th century, this volume proposes a shift away from the prescriptive and hierarchical reading of genre to its crucial function in shaping thought and enabling shared experience and communication. In doing so, the various essays acknowledge the diverse contexts within which genre needs to be thought afresh: media studies, rhetoric, politics, performance, and philosophy.

This book presents a neo-institutional examination of the organizational field including its routines, scripts, and expectations which provides a contribution to theatre studies, labour studies, and to social and cultural policy studies as well as valuable context for current advocacy and governance. This study offers knowledge based on empirical data and thus a foundation that is equally important for scholarly discourse, cross-national learning, and scientifically based recommendations for action to administration, the cultural policy level, and associations alike.

Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as “social practice.” Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawel Althamer and Paul Chan.

Site-Specific Art charts the development of an experimental art form in an experimental way. Nick Kaye traces the fascinating historical antecedents of today’s installation and performance art, while also assembling a unique documentation 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. This interweaving of critique and creativity has never been achieved on this scale before.

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.

Interculturalism is an increasingly urgent topic in the 21st century. As human traffic between nations increases, it becomes imperative to critically re-examine the way cultural exchange is performed. Theatre & Interculturalism surveys established approaches and asks what it would mean to reconsider intercultural performance, not from the points of view of the colonizing cultures, but ‘from below’- from the viewpoints of the historically colonized and marginalized.

To Become Two: Propositions for Feminist Collective Practice offers a narrative of artist Alex Martinis Roe’s research into a genealogy of feminist political practices in Europe and Australia from the seventies until today. …… This is further developed as a practical handbook of twenty new propositions for feminist collective practice, which were formed in collaboration with a network of contributors through experiments with these historical practices.

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.

Joined Forces: Audience Participation in Theatre presents various examples of audience participation in theatre linking them to problems of participation in democracy and to socially engaged art. Making theatre is always a political statement – asking about audience participation practices is asking about the possibilities of making changes both in art and in politics.

Certain Fragments is an extraordinary exploration of what lies at the heart of contemporary theatre. Written by the artistic director of Forced Entertainment, acknowledged to be Britains most brilliant experimental theatre company (Guardian), Certain Fragments investigates the processes of devising performance, the role of writing in an interdisciplinary theatre, and the influence of the city on contemporary art practice.

“Contemporary European Theatre Directors” is an ambitious and unprecedented overview of many of the key directors working in European theatre over the past fifty years. It is a vivid account of the vast range of work undertaken in European theatre during this period, situated lucidly in its artistic, cultural and political context. The resulting study is a detailed guide to the generation of directors whose careers were forged and tempered in the changing Europe of the 1980s and 1990s.

This book asks that we consider the practices that facilitate audience participation on equal terms with other elements of the theatre maker’s art; it offers a theoretical basis for this new approach, illustrated by examples from diverse participatory performances. ….

This pocket publication attempts to understand the position of the artists and the difficulties that they experience in today’s world of the arts. By pointing out the problems that artists experience, we also detect the shortcomings of the functioning of the system as a whole.

In this pocket publication Joris Janssens collects insights and light bulb moments from the research & development trajectory (Re)framing the International. For many years, working internationally has been self-evident in music, visual arts and performing arts. But discomfort is growing. With the economic pressure, inequality and precarity are increasing. Geopolitical turbulences and ecological concerns strip our assumptions of their innocence.

How to understand these trends? What is the actual value and significance of working internationally in the arts, in a shifting societal context? Which frictions and contradictions occur? Which answers or alternatives are being developed? How can we imagine new ways of working internationally?

Everything you ever wanted to know about Hans Ulrich Obrist but were afraid to ask has been asked by the sixteen practitioners in this book. Spanning the beginning of his “career” as a young curator in his Zurich kitchen to his time most recently as the Co-Director of Exhibitions and Programs, and Director of International Projects at the Serpentine Gallery in London, the book is a “production of reality conversations.” It undertakes the impossible: pinning down this peripatetic curator, attempting to map his psychogeography so that silences may be transcribed. In a sense, it organizes a “protest against forgetting” and affirms the sagacity of an artist who told this dontstop curator “don’t go” when he “contemplated leaving the art world” for other fields—“to go beyond the fear of pooling knowledge”—in lieu of bringing other fields into the (then) hermetic art world.

In these essays, Jeroen Peeters looks into the performance work of Mette Edvardsen through the lense of her artist publications, including booklets, postcards and ephemera. 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.

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.

The publication reflects on the Prague Quadrennial in 2007 from the perspective of foreign and Czech theatre arts experts, theatre critics, and artists. The book also presents an analysis of various aspects and trends of contemporary theatre design and architecture.

Anna Viebrock – stage designer, costume designer and director – is one of the most renowned, distinguished and internationally successful representatives of her field. In her spaces the foreign and the familiar equally have an effect; and she combines elements of reality in such a way that they appear to be surreal. Thereby sources of inspiration include everyday buildings and interiors of past decades, which Viebrock photographs and documents when travelling.

NAV IERAKSTĪTS MĀJASLAPĀ

Teātris visupirms ir vizuālā māksla: Arnolda Āronsona eseju krājums aplūko veidus, kā teātra vizualitāte ietekmē dramatisko notikumu uztveri. Grāmatā ir analizēti galvenie scenogrāfijas kocepti un atsevišķu autoru darbi.

“Kopā un atsevišķi” ir par daudzdzīvokļu namu arhitektūru Latvijas ekonomiskajā, politiskajā un sociālajā ainavā. Grāmata skaidro dzīvokļa lomu indivīda, valsts un tirgus attiecībās dažādos vēsturiskos periodos, mūsdienās un pārskatāmā nākotnē.

Since 1983, TransEuropeHalles has gathered independent cultural centres under it’s network. Settled on former industrial or commercial sites these centres, all in different ways, chose to innovate by offering a thousand and one creations to the publics and a thousand and one venues to creators.
Relying on seventeen initiatives that have been able to perpetuate their activities and their structure, the book Factories of the imagination presents the various policies and aims developed by TransEuropeHalles. As a testimony of the know-how and running process of those places, this work also deals with the issue of their urban, social, cultural and political inscription in order to emphasise how they can be useful to the cultural action.

Pamatīgs un rūpīgs ievads laikmetīgās scenogrāfijas praksē teātrī un ārpus tā ar konkrētu piemēru analīzi.

Sharedspace was three-years international scenographic explorational and artistic project that consisted of series of symposiums, experimental exhibitions (with topic Music, Weather, Politics) and the education program Spacelab consisting of workshop series, student performances, installations, and international collaborations taking place 2013 – 2016 in several European countries.

Professor Joseph Brewster is the brand icon of the Brewster Hub Association. the Brewster Hub design immersive and interactive experiences at the intersection of art and science. They employ new technologies to blend the physical and digital worlds, crafting unforgettable moments.
This book is a collection of many works made by the Brewster Hub Association.

Starptautiskas mākslinieku, arhitektu, scenogrāfu, performances mākslinieku un teorētiķu grupas pētījums par izrādes dizainu un dizaina izrādīšanu. Teorētiskās esejas un mākslas darbu apraksti sniedz dzīvu un iedvesmojošu ieskatu izrādes vizualitātē.

“Form Defining Strategies” examines experimental design methodologies in architecture and their discussion in academic settings.

“Mirkļi pirms vēja” (“Moments Before the Wind”) ir heterogēna rakstura scenogrāfijas piezīmju krājums, kas piedāvā ieskatu Briselē bāzētā scenogrāfa un mākslinieka Jozefa Voutersa (Jozef Wouters) poētikā un mākslinieciskajā praksē, pārdomās par kosmosu, telpu, scenogrāfiju, mākslas veidošanu un institucionālo kritiku.

The Prague Quadrennial of Performance Design and Space 2015 included a project, the Tribes walking exhibition. In the Tribes, the artefacts of the exposition were masked living people, while the exhibitions´ scenography were the public spaces of Prague. This book was conceived as a witness of the Tribes as well as a platform for an insightful analysis of the project

Tas ir 2011. gada Prāgas kvadriennāles katalogs, kurā apkopotas esejas par tā gada dažādajiem projektiem, raisot padziļinātas teorētiskas pārdomas par mūsdienu teātri un scenogrāfiju.

Through essays, photographs, drawings, and illustrations, it presents various perspectives on apartment buildings and their role in organising society. It examines how this category of architecture generates ways of living together and apart — with one another, the market, and the state.

The book “Contemporary Lithuanian Theater: Names and Performances” is dedicated to the modern history of the Lithuanian theater and its present. It introduces Lithuanian theater makers and theater phenomena from different perspectives and viewpoints, talks about the recognized theater directors who formed the auteur theater phenomenon in Lithuania, and discusses the strategic innovations of young theater artists and collectives as well as changes in contemporary performing arts practices. The book presents the Lithuanian theater as it is today as a live and interactive network of individuals and events involving the most diverse aesthetic, cultural, historical and ideological discourses.

Featuring essays by Russian and American critics and scholars, Russian Theater presents major developments in the new Russian theater from 2000 to the present.
In the first English-language collection to examine twenty-first-century Russian theater, this special issue of Theater also includes the complete texts of two new Russian plays, published for the first time in English. Ivan Vyrypaev’s Oxygen is a poetic panorama of new Russian identity set to techno music, and Danila Privalov’s 5-25 explores traditional Dostoyevskian existential themes in the language of a new generation.

Vācu teātris pēdējos četrdesmit gados ir kļuvis par unikālu un specifisku zonu starptautiskās skatuves mākslas kontekstā. Teātra vēsturnieks Marvins Karlsons piedāvā pētījumu par šī laikmeta desmit vadošo vācu režisoru metodi, iestudējumiem un māksliniecisko attīstību. Grāmatā aplūkota Pētera Šteina, Pētera Cadeka, Klausa Peimana, Andreas Bretas, Franka Kastorfa, Kristofa Martālera un Annas Fībrokas, Mihaela Tālheimera, Tomasa Ostermeijera un Stefana Pucera daiļrade.

Grāmatā ietverts Gunas Zeltiņas teksts par 2008. gada Latvijas teātra vidi. Grāmata lasāma vācu valodā.

“The Turning World” is the story of the London International Festival of Theatre (LIFT). LIFT’s rich and varied programming of international work in London has had a profound influence on the development of theatre in the UK, challenging the conventions of British theatre by introducing new forms of theatrical expression which has gone on to transform ideas and bring new perspectives on audiences, communities and spaces throughout the city. London explores the way in which LIFT has engaged with the physical, social and cultural landscape of London and the city’s connections with the world.

“Parallel Lives: A Documentary Theatre Project on Secret Police in Eastern Europe” is a long-term project of Slovakia’s international theatre festival Divadelná Nitra in 2013: Six teams of artists from six countries created plays and performances on the basis of files they had researched in the archives of the former communist secret services of their respective countries. Based on this material and adopting a wide variety of artistic approaches, they staged the life stories of people connected with secret service activities – as victims or offenders. The book reflects on the possibilities, opportunities and risks of current approaches to documentary theatre in the countries of the former Eastern bloc.

Eseju krājums par mūsdienu britu teātri.

“Programme Notes: Case studies for locating experimental theatre” is a collection of case studies, interviews and essays which explores the ways in which contemporary theatre is changing through new relationships between mainstream venues and experimental practices. Programme Notes is a unique resource reflecting models of exciting and innovative collaborations at work across the UK.

Our fundamental rationale here is to sketch a map of contexts conducive to thinking about the contemporary festival as one of the crucial contemporary art institutions. The book contains texts drawn from a variety of sources: manifestos, scripts, programme materials, interviews. All the texts were conceived by outstanding practitioners, curators, artists, and researchers analysing and critiquing the mechanisms of art production and reception from diverse points of view.

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, conceptualised 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.

How do artists and cultural workers deal with the diversity of our society? Spring 2007, the book “Tracks” was published: it followed the traces that twenty artists and arts organisations in Flanders and Brussels have left on their path. A performance, an exhibition or a film is just the top of an entire iceberg.
One cannot achieve diversity on stage and a social mix in the audience without conquering a huge iceberg below the waterline, one which remains largely unseen by the audience.
Tracks is a book full of intuitions and methods for those who want to take the intercultural plunge.
This pocket book contains some excerpts from Tracks and offers a subtle description of intercultural competences in contemporary artistic practice.

A Problematic Book is a journey throughout one year of gatherings and discussions on art and politics across Eastern and Western Europe. It approaches a critical thinking and art making by taking the notion of “problem” as a point of departure: What does problematic actually means? How can we think of problems as a productive ground for critical thinking and practice? Do we have a chance of getting rid of cynicism? And if yes, what do we find in its place?

In the framework of IBBT, a Ghent-based promoter of interdisciplinary research into the scientific and the business challenges of the information society, a two-year collaborative research project PokuMOn was set up (2007-2009). It confronted the problems of online distribution and multimedia archiving of performances and concerts.

This publication compiles some of the insights and lessons learnt during this project, ranging from sociology and media studies through management and law up to IT subjects such as semantic web and multimedia compression and storage techniques.

In this book, Giep Hagoort draws on more than fifteen years experience at the Utrecht School of the Arts to help students, teachers, artists, and managers apply management theory to the creation of successful cultural institutions. Utilizing case histories and practical exercises, this book teaches skills for building effective institutions of cultural production and preservation.

The publication explores how arts festivals serve as platforms to bridge diverse communities, fostering mutual understanding and integration within Europe and globally. It examines the role of festivals not just as entertainment providers, but as active changemakers capable of creating open spaces for public discourse and community building.

A festival is a complex creature that requires careful tending and nurturing. Each festival director brings their own vision, experience, intuition, ambition and inspiration to the process of shaping it— each negotiates the politics, economics, and the social realities of the city where it takes place.
Nine directors from four continents who have headed or are still at the head of festivals share their thoughts; their dreams and dilemmas; the problems they have encountered, and how they succeeded or failed to solve them. And above all: how they established artistic landmarks in the times and environments that were their own.

In this publication renowned festival directors as well as a new generation of festival leaders enter into a dialogue and give their perspective on the changing festival landscape. It reflects the topics brought to the table during the Ateliers. The Ateliers are organized in a specific context with a local partner introducing the festival community to specific local or regional, artistic, cultural, social and political questions.

Teātris operē ar daudzveidīgu zīmju sistēmu – valodu un žestiem, kostīmiem un dekorācijām, mūziku un gaismu. Katra zīme teātrī darbojas pēc saviem, atšķirīgiem principiem. Šī grāmata analizē teātra zīmju sistēmas elementus un to mijiedarbes veidus.

Vadošo pasaules teātra mākslinieku un teorētiķu rakstu apkopojums – brīnišķīga ideju, uzskatu un māksliniecisko prakšu kolekcija, kas atklāj mūsdienu teātra galvenos principus ne tikai Rietumeiropā, bet arī Afrikā, Ķīnā un Indijā. Grāmatā publicēti Pītera Bruka, Mārvina Karlsona, Arianes Mnuškinas, Roberta Vilsona, Jerži Grotovkska un daudzu citu raksti.

In reading all the theoretical contributions to this book, an essentially common idea of the social can be observed which is of fundamental importance for a new definition of artistic production: a process-related order of institutionalized actions, including the linguistic actions to which individuals are exposed. For here, in the repetition of such institutionalized acts, is where subjects first emerge at all. Objects, whether they be objects of everyday use or whole architectures, are like moulds which provide for the institutionalization of actions. The artist emerges as a social figure, as the product of a society and the agent of political interests. From this point of view, the status of objects, the status of the “work” is not the expression of a circumscribed meaning, but the instrument of forming a subject. The opposition of theory and practice becomes obsolete. Subject and object are meaning written into actions.

Rihards Šēhners ir viens no vadošajiem mūsdienu teātra režisoriem un pasniedzējiem. Fundamentāls un visaptverošs darbs par teātri – Rietumu un ne-Rietumu pasaule, skatuves māksla un performance, antropoloģija, rituāli, tēlošana ikdienas dzīvē, spēlēšanās, psihoterapija, šamanisms, utt.

In this book, Erika Fischer-Lichte traces the emergence of performance as ‘an art event’ in its own right. In setting performance art on an equal footing with the traditional art object, she heralds a new aesthetics.
The peculiar mode of experience that a performance provokes – blurring distinctions between artist and audience, body and mind, art and life – is here framed as the breeding ground for a new way of understanding performing arts, and through them even wider social and cultural processes.

Erika Fischer-Lichte’s introduction to the discipline of Theatre and Performance Studies is a strikingly authoritative and wide ranging guide to the study of theatre in all of its forms. Its three-part structure moves from the first steps in starting to think about performance, through to the diverse and interrelated concerns required of higher-level study. Case studies throughout the book root its theoretical discussion in theatrical practice. Focused accounts of plays, practitioners and performances map the development of Theatre and Performance Studies as an academic discipline, and of the theatre itself as an art form.

“Theatre & Feeling” explores the idea that, for many people, theatre is a passion. It provides an intellectual framework for the range of emotional experience engendered by the theatre, establishing a base-line for further thinking and practice in this rich and emergent area of inquiry. Moving across western dramatic theory and theatre history, the book demonstrates the centrality of feeling to the theatre.

The Routledge Companion to Theatre and Performance provides an informative and engaging introduction to the significant people, events, concepts and practices that have defined the complementary fields of theatre and performance studies.

Vadošo mūsdienu teātra teorētiķu un praktiķu teksti par mūsdienu teātri, tā iespējamo krīzi un attīstības prognozes.

20. gadsimta beigās uzplauka interese par semiotiku – zinātni par zīmēm saziņas procesā. Grāmatas autors atklāj šīs jaunās zinātnes radītās radikālās pārmaiņas teātra izrādes uztverē.

Theatre, in some respects, resembles a market. Stories, rituals, ideas, perceptive modes, conversations, rules, techniques, behavior patterns, actions, language, and objects constantly circulate back and forth between theatre and the other cultural institutions that make up everyday life in the twentieth century. These exchanges, which challenge the established concept of theatre in a way that demands to be understood, form the core of Erika Fischer-Lichte’s dynamic book.
Each eclectic essay investigates the boundaries that separate theatre from other cultural domains. Every encounter between theatre and other art forms and institutions renegotiates and redefines these boundaries as part of an ongoing process. Drawing on a wealth of fascinating examples, both historical and contemporary, Fischer-Lichte reveals new perspectives in theatre research from quite a number of different approaches. Energetically and excitingly, she theorizes history, theorizes and historicizes performance analysis, and historicizes theory.

Teātra terminu vārdnīca angļu-franču-vācu-itāļu-krievu-latviešu-lietuviešu-igauņu-krievu NAV IERAKSTĪTA MĀJASLAPĀ

The article sets out to investigate the fundamental problem for the methodology of postwar German art history, namely, the unavoidable fusion of two markedly different perspectives, i.e., those of East and West Germany, into a coherent narrative. The reconstruction of key exhibitions and controversies sparked by East German art, in 1989 and beyond, suggests that the revision of the canon of art history may be faced with greater challenges whenever adopting the perspective of the close Other (political or ideological), rather than that of a remote Other (ethnic or cultural). The incorporation of the close Other into a uniform narrative on art history can be a moot point, most notably in those cases where the western concept of art calls for a necessary restatement, and one’s identity needs to be critically redefined in the process.

The book brings together theoretical perspectives, critical essays and practical case studies exploring applied theatre as a means of education, community engagement and social change. The book examines diverse practices, including community theatre, theatre in prisons, theatre for development and performance in conflict resolution, highlighting the potential of theatre to challenge social inequalities, amplify marginalised voices and encourage positive transformation.

Autors identificē septiņus veidus, kā pētīt skatuves mākslas tēlus un prakses, sākot no pirmsvēstures, Neolīta perioda skatītāja līdz Tino Segala konstruētajām situācijām, no Platona alas līdz Forced Entertainment.

Britu teātra profesora Alana Rīda grāmata pēta, kā teātris stimulē jutīgu un reizē kritisku pasaules uztveri, atmodina sajūtu, ka esam dzīvi, paplašina mūsu nemainīgo un nenovēršamo likteni. Šī ir sarežģīta, bet ļoti vērtīga lasāmviela. “Lasītājus šī grāmata savaldzinās, provocēs un iedrošinās no jauna palūkoties uz to, kā mēs saprotam teātri, politiku un sevis pašu intelektuālo līdzdalību”, Nicholas Ridout Studies in International Performance. Series editors: Janelle Reinelt, Brian Singleton

“Theory/Theatre” provides a unique and engaging introduction to literary theory as it relates to theatre and performance. Fortier lucidly examines current theoretical approaches, from semiotics, poststructuralism, through cultural materialism, postcolonial studies and feminist theory.

Jerži Grotovskis nodibināja Teātra Laboratoriju Opolē, Polijā 1959. gadā. Grotovska un viņa kompānijas darbs kļuva par vienu no visnozīmīgākajiem notikumiem mūsdienu teātrī. Šī grāmata apkopo idejas, metodes un atklājumus, kas bija pamatā Teātra Laboratorijas darbam.

Fluid stages, morphing theatre spaces, ambulant spectators, and occasionally disappearing performers: these are some of the key ingredients of nomadic theatre. They are also theatre’s response to life in the 21st century, which is increasingly marked by the mobility of people, information, technologies and services. While examining how contemporary theatre exposes and queries this mobile turn in society, Liesbeth Groot Nibbelink introduces the concept of nomadic theatre as a vital tool for analyzing how movement and mobility affect and implicate the theatre, how this makes way for local operations and lived spaces, and how physical movements are stepping stones for theorizing mobility at large.
This book focuses on ambulatory performances and performative installations, asking how they stage movement and in turn mobilize the stage. By analyzing the work of leading European artists. Nomadic Theatre instigates connections across disciplinary fields and feeds dramaturgical analysis with insights derived from media theory, urban philosophy, cartography, architecture, and game studies. It illustrates how theatre, as a material form of thought, creatively and critically engages with mobile existence both on the stage and in society.

Šī ir viena no pirmajām publikācijām, kas piedāvā modernā teātra un tā attīstības analīzi. Grāmatā ietvertas šādas nodaļas: teātra mākslas attīstība kopš sešdesmitajiem gadiem; attiecības starp teātri, postmodernismu, identitāti, un mūsdienu kultūras pētniecību; jaunākās teorijas par teātri antropoloģijā, psihoanalīzē, lingvistikā un tehnoloģijā. Mārvins Karlsons ir teātra un modernās literatūras profesors Sidnejā.

Grāmatā apskatīta teātra pārveidošanās pēc postmodernisma, argumentējot, ka 21. gadsimta teāris atklātāk iesaistās jēgas, politikas un sabiedrības jautājumos, spilgti uzsverot personisko pieredzi. Kā piemēri ir pētīti Rimini Protokoll, Blast Theory, Punchdrunk, Ontroerend Goed, Dries Verhoeven, Rabih Mroue uc. autoru darbi.

Provides the beginning student with working examples of theatrical analysis. Its range covers the whole of twentieth century theatre, from Stanislavski to Brecht and Samuel Beckett to Robert Wilson.

Why do actors get stage fright? What is so embarrassing about joining in? Why not work with animals and children, and why is it so hard not to collapse into helpless laughter when things go wrong? In trying to answer these questions – usually ignored by theatre scholarship but of enduring interest to theatre professionals and audiences alike – Nicholas Ridout attempts to explain the relationship between these apparently unwanted and anomalous phenomena and the wider social and political meanings of the modern theatre. The book focuses on the theatrical encounter – those events in which actor and audience come face to face in a strangely compromised and alienated intimacy – arguing that the modern theatre has become a place where we entertain ourselves by experimenting with our feelings about work, social relations and about feelings themselves.

After identifying the unique nature of this type of performance, the author examines how devised theatre is perceived by professional practitioners, and provides an historical overview illustrating how it has evolved since the 1960s. Alison Oddey examines the particular working practices and products of a number of professional companies, including a Reminiscence theatre for the elderly and a theatre-in-education group, and offers ideas and exercises for exploration and experimentation.

“Devising Theatre” is a practical handbook that combines a critical analysis of contemporary devised theatre practice with descriptions of selected companies, and suggestions for any group devising theatre from scratch. It is the first book to propose a general theory of devised theatre.

In this book, Victor Turner is concerned with various kinds of social actions and how they relate to, and come to acquire meaning through, metaphors and paradigms in their actors’ minds; how in certain circumstances new forms, new metaphors, new paradigms are generated. To describe and clarify these processes, he ranges widely in history and geography: from ancient society through the medieval period to modern revolutions, and over India, Africa, Europe, China, and Meso-America.

Augusto Bols ir režisors, dramaturgs, teorētiķis un skolotājs. Viņs ir metodes Forum Theatre autors, kuras pamatā ir vārda “to act” dubultā nozīme – spēlēt uz skatuves un rīkoties. Bols apraksta jaunus, teatrālus un revolucionārus veidus, kā ikvienu iesaistīt demokrātijas procesos, mēģinot ar teātra palīdzību radīt īstu demokrātiju. Šis ir iepriekš nepieredzēts eksperiments, kā ar teātra palīdzību veicināt pārmaiņas sabiedrībā.

Grāmatā apkopoti nozīmīgākie teksti par teātri, kas radīti pēdējos 150 gados (Žans Pols Sartrs, Frīdrihs Dīrenmats, Augusts Strindbergs, Bernards Šovs, Moriss Māterlinks, Antonēns Arto, Pīters Bruks, Umberto Eko un daudzi citi). Grāmata ir neaizstājams informācijas avots teātra prakses un teorijas studentiem.

The intent of the DAPM is to assist its readers to better understand: The vocabulary used by professionals in the arts and in arts management to describe their work, their tools, their critical judgment, and their passion. The mutuality of the arts, i.e., how artists, performers and managers relate to each other, to audiences, to the inner forces of aesthetics, criticism, and ethics, and to the outer forces of economics, politics, society and technology.

A Dictionary of Theatre Anthropology subtly juxtaposes visual demonstrations of the performer’s craft, from a wealth of Eastern and Western sources. More than just a dictionary, this is a handbook for theatre practitioners and a guide for students and scholars of transcultural performance. Whereas most Western research is concerned with naturalism and psychological realism in acting, the Dictionary focuses on the actor’s arduous and eclectic craft. The Dictionary aims to expand our knowledge of the possibilities of the scenic body, and of the spectator’s response to the dynamics of performance. The Dictionary has practical sections on balance, opposition and montage among other techniques, and discusses issues including The Text and the Stage, The Dilated Body and Energetic Language.

Grāmata iepazīstina ar skatuves mākslu visā tās daudzveidībā – teātris, deja, kino, audiovizuālie mediji, mīmu māksla, kā arī veic visu izrādes līmeņu analīzi no žesta un sejas izteksmes līdz kostīmiem, gaismām un mūzikai. Grāmata domāta teātra kritiķiem, teorētiķiem un praktiķiem. Patriss Pavī ir Parīzes VIII Universitātes profesors.

interesanta skatuves mākslas joma. 20.gadsimtā objektu un leļļu teātra inovatīvo, sociālo un politisko vērtību ir aplūkojuši gan franču simbolisti, gan krievu futūristi un konstruktīvisti, gan Prāgas semiotiķu skola un avangarda mākslinieki citur pasaulē. Pēdējos gados lelles, maskas un objekti ir atradušies interesanta skatuves mākslas joma. 20.gadsimtā objektu un leļļu teātra inovatīvo, sociālo un politisko vērtību ir aplūkojuši gan franču simbolisti, gan krievu futūristi un konstruktīvisti, gan Prāgas semiotiķu skola un avangarda mākslinieki citur pasaulē. Pēdējos gados lelles, m askas un objekti ir atradušies interesanta skatuves mākslas joma. 20.gadsimtā objektu un leļļu teātra inovatīvo, sociālo un politisko vērtību ir aplūkojuši gan franču simbolisti, gan krievu futūristi un konstruktīvisti, gan Prāgas semiotiķu skola un avangarda mākslinieki citur pasaulē. Pēdējos gados lelles, maskas un objekti ir atradušies interesanta skatuves mākslas joma. 20.gadsimtā objektu un leļļu teātra inovatīvo, sociālo un politisko vērtību ir aplūkojuši gan franču simbolisti, gan krievu futūristi un konstruktīvisti, gan Prāgas semiotiķu skola un avangarda mākslinieki citur pasaulē. Pēdējos gados lelles, maskas un objekti ir atradušies

Through specific examples, case studies and essays by specialist writers, academics, and a new generation of theatre researchers, this collection of specially commissioned essays looks at current theatre practices across Europe.

Critical Theory and Performance presents a broad range of critical and theoretical methods and applies them to contemporary and historical performance genres—from stage plays, dance-dramas, performance art, cabaret, stand-up comedy, and jazz to circus, street theater, and shamanistic ritual. As the first comprehensive introduction to critical theory’s rich and diverse contributions to the study of drama, theater, and performance, the book has been highly influential for more than a decade in providing fertile ground for academic investigations in the lively field of performance studies.

Grāmata aplūko scenogrāfijas un izrādes attiecības mūsdienu skatuves mākslā un ietver 12 autoru esejas par konkrētām kompānijām un scenogrāfiem un par vispārīgām tendencēm laikmetīgās teātra telpas interpretācijā.

Avangarda prakses un teorija, kas radīja feministisko performances mākslu.

Žana Bodrijāra “Simulakri un simulācija” ir mūsdienu domas klasisks pētījums par to, kā zīmes, modeļi un reprezentācijas pārņem realitātes vietu, radot hiperreālo – vidi, kurā atdarinājums kļūst iedarbīgāks par sākotnējo. Autors skaidro, kā mediji, patēriņa kultūra un tehnoloģijas ražo simulakrus, kas strukturē mūsu uztveri un sabiedrisko kārtību: realitāte tiek nomainīta ar tās zīmju tīklojumu, bet patiesība – ar to, kas cirkulē kā ticama. Grāmata izseko simulācijas režīmus, apraksta to attīstību vēsturiskā mērogā un ievelk lasītāju redzējumā, kur Disnejlendas tipa vidi vai informācijas plūsmu vairs nav iespējams atdalīt no “īstā”. “Simulakri un simulācija” ir izaicinošs, bet skaidri argumentēts aicinājums pārdomāt attiecības starp zīmi un lietu, varu un tēlu, realitāti un tās kopijām.

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.

14 autoru rakstu un eseju kopums, kas ieskicē Austrumeiropas avantgarda, alternatīvā teātra ievirzīzes teātra scenogrāfijā un telpā, ko veido Austrumeiropas mākslinieki starpkaru avantgard periodā. Autoru vidū arī Latvijas teātra zinātniece Edīte Tišheizere. Citi autori: Višnja Kačic Rogošic, 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

Radical Street Performance is the first volume to collect together the fascinating array of writings by activists, directors, performers, critics, scholars and journalists who have documented street theatre around the world. These essays look at performaces in Europe, Africa, China, India and both the Americas. They describe engagement with issues as diverse as abortion, colonialism, the environment and homophobia, to name only a few. Introduced by editor Jan Cohen-Cruz, the essays are organized into thematic sections: Agitating; Witnessing; Involving; Imagining; and Popularizing.

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

Ļoti personiska un saistoša žurnālistes un pētnieces Florianes Gaberes monogrāfija par ielu mākslu Francijā – galvenajiem māksliniekiem, uzvedumiem un festivāliem.

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.

An analysis of how the performing arts landscape in Flanders is facing a major turning point due to social, economic, and cultural transformations. It serves as a call to action for both policymakers and arts professionals to rethink traditional working models, support sustainable breeding grounds, and adapt artistic practices for the future.

Critical and theoretical reflections on City of Women festival’s topics, performances, exhibitions and discursive events.

Globāls pārskats par ielu mākslas attīstību Francijā kopš 1968. gada. Dzīvās atmiņas un pieredze šinī grāmatā mijas ar vēsturiskiem faktiem un atsaucēm uz valsts kultūrpolitiku ielu mākslas jomā.

The publication highlights the essential role of artistic intent and creativity, advocating that festivals should prioritize “art for art’s sake” over commercial or political pressures.
It contributes to European Festivals Association’s broader goal of researching and documenting cultural networks, festival policies, and the evolving landscape of European cultural management.

“Laucinieciskais” ir daļa no atzītās “Laikmetīgās mākslas dokumentu” antoloģiju sērijas. Tekstuāla izmeklēšana, izmantojot dažāda rakstura tekstus, intervijas un dokumentējot pilsētas, lauku un mūsdienu kultūras sarežģītās attiecības. Kas un kur ir “lauki” un “laucinieciskais”?

“Performance and Cultural Politics” is a collection of essays which explore the historical and cultural territories of performance, written by the foremost scholars in the field. The essays, exploring performance art, theatre, music and dance, range from Oscar Wilde to Eric Clapton; from the Rose Theatre to U.S. Holocaust museums.

Jēdziens “ainava” rada neskaitāmas asociācijas un cerības: nav vienotas, skaidras ainavas definīcijas. Tas padara ainavu par pateicīgu sākumpunktu filozofiskiem jautājumiem par kultūras centru dinamiku, institūciju uzskatiem un kultūras attīstību dabiskā vidē. Kam patiesībā piederēja zeme? Kas izveidoja ainavu? Kas noteica kultūras ritmu? Kurš pieprasīja augsni? Šī grāmata atceļ šos un citus jautājumus.

Viena no laikmetīgā teātra autoritātēm, vācu režisors, komponists un pedagogs Hainers Gēbelss eseju un lekciju krājumā reflektē par saviem vairāk nekā 20 gadu laikā radītajiem skatuves darbiem, ietekmēm (t.sk. Roberts Vilsons un Žans Liks Godārs), saviem bijušajiem studentiem (t.sk. Rimini Protokoll) un runā par radikālu teātra procesa un pedagoģijas pārveidošanu.

This handbook presents a collection of artistic strategies for engaging with real political scenarios, developed during the “Truth is Concrete” Marathon Camp. It emphasizes the necessity for self-empowerment in activism, suggesting that art can play a vital role in political discourse and social change. The text is structured into chapters that explore various approaches to creative activism and the impact of art in responding to contemporary socio-political issues, providing a resource for artists and activists seeking effective means of action.

Piecas esejas par 11. septembri un līdzīgiem datumiem.

Franču filozofa grāmata par teātra izrāžu skatīšanās fenomenu, attiecībām starp skatuvi un skatītāju un uztveres politiku. Ransjērs piedāvā aizraujošu un radikāli jaunu pieeju mēģinājumiem skatītāju no pasīva vērotāja padarīt par aktīvu mākslas procesa dalībnieku un aizstāv inteliģences vienlīdzības principu (the equality of intelligence).

“This Changes Everything” is a brilliant explanation of why the climate crisis challenges us to abandon the core “free market” ideology of our time, restructure the global economy, and remake our political systems.

“Theatre & Politics” explores the complex relationship between theatre and politics, questioning some of the assumptions that often arise when they are brought together. Challenging ideas about ‘entertainment’ and ‘communication’, the book draws on a broad range of key writing from Plato to Rancière, and theatrical examples from Shakespeare and his adaptors through Peter Handke to debbie tucker green.

This original and provocative book explores the contribution that theatre has made to our slowly evolving consciousness of our world as a whole. Drawing on sources from Aeschylus to The Lion King, Chekhov to Complicite, tragedy to advertising, the book argues for theatre’s importance as a site of resistance to the ruthless spread of the global market.

What does theatre do for – and to – those who witness, watch, and participate in it?

“Theatre & Audience” provides a provocative overview of the questions raised by theatrical encounters between performers and audiences. Focusing on European and North American theatre and its audiences in the twentieth and twenty-first centuries, it explores belief in theatre’s potential to influence, impact and transform. Illustrated by examples of performance which have sought to generate active audience involvement – from Brecht’s epic theatre to the “Blue Man Group” – it seeks to unsettle any simple equation between audience participation and empowerment.

Kanādiešu žurnāliste, rakstniece un sabiedriskā aktīviste Naomi Kleina guva starptautisku atzinību 30 gadu vecumā, 2000. gadā nākot klajā dokumentāli pētnieciskajam bestselleram “No Logo”, kas kļuva par antiglobālisma kustības manifestu. Šobrīd līdzīgu uzmanību pasaulē izpelnās “Šoka doktrīna”, kas 2009. gadā apbalvota ar Vorvikas universitātes Rakstniecības balvu un tulkota 20 valodās. 2005. gadā Naomi Kleina žurnālu “Prospect” un “Foreign Policy” veidotajā pasaules redzamāko sabiedriski aktīvo intelektuāļu simtniekā ierindota 11. vietā. “Kādā pašaurā “nometnē” — pasaules vadošo ekonomiku apkalpotāju aprindās — Naomi Kleinas izvērstais politekonomijas pētījums “Šoka doktrīna” histēriski tika nodēvēts par sazvērestības teoriju. Visai iespējams, tas tāpēc, ka “Šoka doktrīna” ir drosmīgākais un izsmeļošākais vēstījums par “pasaules privatizācijas” līdz šim vērienīgāko un ienesīgāko “pasākumu” — krīžu jeb katastrofu kapitālismu. “Šoka doktrīnas” autore aso sociālās nevienlīdzības pieaugumu mūsdienu pasaulē saista ar brīvā tirgus ideoloģijas vardarbīgu eksportu, tās popularizētājiem izmantojot tā saucamās “Čikāgas skolas” jeb neokonservatīvisma idejas.

“The Politics of Aesthetics” rethinks the relationship between art and politics, reclaiming “aesthetics” from the narrow confines it is often reduced to. Jacques Rancière reveals its intrinsic link to politics by analysing what they both have in common: the delimitation of the visible and the invisible, the audible and the inaudible, the thinkable and the unthinkable, the possible and the impossible.

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.

The book explores the concept of agonistic democracy, arguing that political conflict and disagreement are inevitable features of democratic societies and should be channelled into constructive contestation rather than eliminated. It also examines the relationship between radical politics, cultural pluralism and artistic practices, highlighting the potential of art to challenge dominant power structures and contribute to democratic change.

The book explores how contemporary art and performance intersect with neoliberal capitalism, examining the influence of market-driven values, competition and individual responsibility on artistic practices. The book critically examines the tensions between artistic freedom, economic pressures and the potential of art and performance to challenge dominant social and political structures.

Grāmatā apkopotas vairāk nekā 100 iedomātas izrādes, kuru autori ir vadošie laikmetīgā teātra un dejas mākslinieki un teorētiķi. Tie ir dialogi, prozas poēmas, lugu fragmenti un mikrofikcijas, kas apraksta iztēlotas izrādes, pētot to, kas varētu būt iespējams un neiespējams teātrī.

By the invitation of Umeå2014 and Riga2014, was created floating tree installations in Umeå, Pori, and Riga during the summer of 2014, working with young people from these cities around the Baltic Sea. This project was based on an ongoing dialogue and exploration of the Baltic Sea as a unifying and dividing force, as well as migration, flight, the concept of art, the value of trees and water, the similarities and distinctiveness of our cultures, and more. Floating Trunks was a collaboration with Umeå Legends Club, Riga2014, Galleri NOASS, Umeå2014, Pori Art Museum, and others.

2. izdevums sērijā Performing Urgency, kas pievēršās aktuāliem jautājumiem par šī brīža teātra attiecībām ar politisko un sociālo realitāti. Turn, Turtle! radoši un intelektuāli analizē jaunāko pavērsienu skatuves mākslas institūciju darbībā un uztverē, kur šīs varas struktūras pašas “no iekšpuses” veic radikālas pārmaiņas. Grāmatā apkopotas sešas esejas, trīs intervijas un seši piemēri, ko radījuši mākslinieki, institūciju direktori un domātāji.

Now one of the most highly visible art forms, in the last two decades performance has emerged from the margins to become an essential vehicle for communication, transforming museums and galleries into lively cultural hubs for future generations. This landmark survey by renowned authority RoseLee Goldberg reveals how live art has developed in the 21st century as a visual medium, a global language and a political force. A mesmerizing survey of this most varied art form, Performance Now is the ultimate reference for artists, art students and historians, as well as theatre, film, dance and architecture enthusiasts with an eye on the avant-garde.