Applying Performance: Live Art, Socially Engaged Theatre and by N. Shaughnessy

By N. Shaughnessy

This booklet attracts upon cognitive and impact idea to check functions of latest functionality practices in academic, social and neighborhood contexts. The writing is positioned within the areas among making and function, exploring the tactics of constructing paintings outlined variously as collaborative, participatory and socially engaged.

Show description

Read Online or Download Applying Performance: Live Art, Socially Engaged Theatre and Affective Practice PDF

Similar theater books

How to Improvise a Full-Length Play: The Art of Spontaneous Theater

Omit the script and get at the degree! In how you can Improvise a Full-Length Play, actors, playwrights, administrators, theater-group leaders, and academics will locate every little thing they should comprehend to create comedy, tragedy, melodrama, and farce, with out scripts, no situations, and no preconceived characters. writer Kenn Adams provides a step by step approach for long-form improvisation, masking plot constitution, storytelling, personality improvement, symbolism, and complicated scene paintings.

The Cambridge Companion to Victorian and Edwardian Theatre (Cambridge Companions to Literature)

This spouse is designed for readers attracted to the construction, construction and interpretation of Victorian and Edwardian theater. An creation surveying the old interval of the theater is through an essay contextualizing it in the tradition as a complete. Succeeding chapters research functionality and construction, (including track, actors, stagecraft and audience), performs and playwriting and problems with type and gender.

Harold Pinter Plays 1: The Birthday Party, the Room, the Dumb Waiter, a Slight Ache, the Hothouse, a Night out, the Black and White, the Examination

This quantity comprises Harold Pinter's first six performs, together with The celebration. The birthday celebration Stanley Webber is visited in his boarding condominium via strangers, Goldberg and McCann. An innocent-seeming celebration for Stanley becomes a nightmare. 'Mr Pinter's terrifying combination of pathos and hatred fuses unforgettably into the stuff of artwork.

Extra info for Applying Performance: Live Art, Socially Engaged Theatre and Affective Practice

Sample text

Whilst critics might question the political efficacy of forms of theatre which employ forms and methods associated with consumerism, Saal suggests we reconsider our criteria for assessing the political value of performance and raises some critical questions concerning the politics of form and agency: shifting the emphasis from the critique of the commodity to the analysis of the various intricate ways in which cultural practices interact with and 20 Histories and Contexts within relations of power ….

It is a project centered on an ongoing moral dialogue involving the shared ownership of the performance project itself. Together, members of the community, as cultural Pasts, Pioneers, Politics 23 workers, create the performance text and the performance event’ (McCall, [2000] 2003: 426). Welfare State International A commitment to experimental and interventionist forms of community performance also characterizes the work of Welfare State International in the United Kingdom, a company which has some similarities to Bread and Puppet and which also enjoyed longevity.

Sponsored by various anti-war activists in the United States and Europe, the company’s work after the end of the Vietnam War (1975) continued to engage in international politics and policy. Bread and Puppet’s critique of global political and post-Cold War international issues was as radical in style as it was in content. Schummann’s avant-garde aesthetic has been discussed in relation to ‘Happenings’, John Cage, Dada, the Wooster group and the visual theatre of Robert Wilson (Kourilsky, 1971). Although the work of these practitioners is distinguishable from the ‘paratheatre’ of Bread and Puppet, Schumann’s aesthetic has many of the characteristics associated with postmodern performance in terms of its hybridity, non-realism, use of new technologies (albeit in a deliberately primitive form), while the relations between performer and audience in puppet theatre have been described as ‘a kind of automatic Verfremdunkseffeckt’ (Bell, 1998: 39).

Download PDF sample

Rated 4.38 of 5 – based on 18 votes