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