The Twentieth-Century Performance Reader has been the key introductory text to all types of performance for over fifteen years. Extracts from over fifty practitioners, critics and theorists from the fields of dance, drama, music, theatre and live art form an essential sourcebook for students, researchers and practitioners. This carefully revised third edition offers focus on contributions from the world of music, and also privileges the voices of practitioners themselves ahead of more theoretical writing. A bestseller since its original publication in 1996, this new edition has been expanded to include contributions from: Bobby Baker; Joseph Beuys; Rustom Bharucha; Anne Teresa de Keersmaeker; Hanns Eisler; Karen Finley; Philip Glass; Guillermo Gómez-Peña; Matthew Goulish; Martha Graham; Wassily Kandinsky; Jacques Lecoq; Hans-Thies Lehmann; George Maciunas; Ariane Mnouchkine; Meredith Monk; Lloyd Newson; Carolee Schneemann; Gertrude Stein; Bill Viola. Each extract is fully supplemented by a contextual summary, a biography of the writer, and suggestions for further reading. The volume’s alphabetical structure invites the reader to compare and cross-reference major writings on all types of performance outside of the constraints and simplifications of genre, encouraging cross-disciplinary understandings. All who engage with live, innovative performance, and the interplay of radical ideas, will find this collection invaluable.
It could either be hung from the ceiling, which we couldn't do in this case, or to hang it on a structure. ... you trained as a musician when you first sought political asylum in Germany, teaching guitar lessons in order to make money.
This is the follow-on text from The Twentieth Century Performance Reader, which has been the key introductory text to all kinds of performance for over 20 years since it was first published in 1996.
Convinced that the teaching of reading should help to construct a reading culture or a community of readers , I am proposing a model with extensive lateral connections to allow for more collaborative deliberation , a model that seeks to ...
R. Schwartz, London: Johns Hopkins University Press. WiUett, J. (1964) The Theatre of Bertolt Brecht: A Study from Eight Aspects, London: Methuen. Williams, D. (1985) '"A Place Marked by Life": Brook at the Bouffes du Nord', ...
... American People: Census 2000 (New York: Russell Sage Foundation, 2005), 208. 14. Twentieth-century girls' history ... Adolescence: Film Representations and Fans, 1920–1950 (New York: Praeger, 2000); Kristen Hatch,“Fille Fatale ...
... Theatre and Cruelty . " In The Twentieth - Century Performance Reader , edited by Teresa Brayshaw and Noel Witts . London and New York : Routledge , 2014 , pp . 31–34 . Barba , Eugenio . A Dictionary of Theatre Anthropology : The Secret ...
... whereby the 'high, balding dome' is an 'almost totemic guarantor of the author's unique genius'; moreover, as 'an image that permeates the fabric and texture of everyday common life', Shakespeare's face is 'a symbol, pre-eminently, ...
The collection is designed as a companion to Richard Schechner's popular Performance Studies: an Introduction (Routledge, 2002), but is also ideal as a stand-alone text.
This reader, a companion to The Open University's four-volume Art of the Twentieth Century series, offers a variety of writings by art historians and art theorists.
Extreme Exposure: An Anthology of Solo Performance Texts from the Twentieth Century, edited by director Jo Bonney, features the work of 42 solo artists spanning the century-from Beatrice Herford in...