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Art Education Practice and Research collection
For more information and prices please contact Holly Rose, [email protected].
Collection Contents
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Performing Institutions
Performing Institutions: Contested Sites and Structures of Care builds upon scholarly work rooted in the social and cultural histories of education, self-organization, activist practices, performance, design, and artistic research, (at)tending to the ways that institutions are necessarily political and performed.
By evoking the idea of Performing Institutions, it foregrounds all kinds of ‘actors’ that engage with (re)imagining creative practices - social, artistic, and pedagogical - that critically interact with institutional frameworks and the broader local and global society of which these institutions are part.
With case studies and critical reflections from Denmark, Ireland, Finland, the UK, Canada, the USA, Chile, Asia and Australasia contributors show how they envision or pursue performing artistic, cultural, social and educational practices as caring engagements with contested sites, addressing the following questions. How do current institutions perform – academically, spatially, custodially and structurally? How might we stay engaged with the ways that institutions are inherently contested sites, and what role do care, and counter-hegemonic practices play in rearticulating other ways of performing institutions, and how they perform on us?
These are the questions central to this book as it stages a productive tension between two main themes: structures of care (instituting otherwise) and sites of contestations (desiring change).
Some of the texts in this collection stage a productive tension between ideas about caring contestations and contestation as a caring engagement in practice, with a view towards institutional transformation. Other contributors investigate the idea of caring contestations as a critical concept that draws attention to questions of power and to the exclusions produced and reproduced in and through specific institutional practices. As such, this collection of writing puts forward caring contestations as a critical mode for (re)enacting institutional engagements. This also brings forward questions of agency and how, for those of us who perform within institutional structures, we care to engage and/or contest those institutional engagements.
It is primarily aimed at scholars, educators, research-practitioners and postgraduate students in the fields of performance studies, theory, creation and design, those working at art institutions and art schools Also relevant to researchers working across various fields of organizational as well as educational approaches to performance culture.
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Phenomenology for Actors
More LessThis book gives new insight into acting and theatre-making through phenomenology (the study of how the world shows itself to conscious experience). It examines Being-in-the-world in everyday life with exercises for workshops and rehearsal. Each chapter explores themes to guide the creative process through objects, bodies, spaces, being with others, time, history, freedom and authenticity. Key examples in the work are drawn from Chekhov’s The Cherry Orchard, Sophocles’ Antigone and Shakespeare’s Hamlet. Practical tasks in each section explore how the theatrical event can offer unique insight into Being and existence. In this way, the book makes a bold leap to understand acting as an embodied form of philosophy and to explain how phenomenology can be a rich source of inspiration for actors, directors, designers and the creative process of theatre-making.
This original new book will provide new insight into the practice and theory of acting, stimulate new approaches to rehearsal and advance the notion of theatre making a genuine contribution to philosophical discourse.
The fundamental task of the actor is to be on stage with purposeful action in the given circumstances. But this simple act of ‘Being’ is not easy. Phenomenology can provide valuable insight into the challenge. For some time, scholars have looked to phenomenology to describe and analyse the theatrical event. But more than simply drawing attention to embodiment and the subjective experience of the world, a philosophical perspective can also shed light on broader existential issues of being.
No specialist knowledge of philosophy is required for the reader to find this text engaging and it will be relevant for second-year students and above at tertiary level.
For postgraduates and researchers, the book will provide a valuable touchstone for phenomenology and performance as research. The book will appeal to theatre and performance studies, and some applied philosophy courses. The material is also relevant to studies in literary and critical theory, cultural studies and comparative literature.
The work is relevant to The International Federation of Theatre Research (IFTR/FIRT) (Performance and Consciousness), Performance Studies International (psi) and the Performance Philosophy Research Network — an influential and growing research field.
Primary markets for this book will be students (both at university and conservatoires) and academics in theatre studies, as well as practitioners and actors in training. The text will be useful to students in units or modules relating to acting theory and theatre-making processes, and which combine critical theory with practical performance. It will also be useful for practitioners of theatre looking to expand or inflect their own methods of approaching performance.
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Performing Revolutionary
More Less[The result of five years of practice-based creative research focused on Nicole Garneau’s UPRISING project, Performing Revolutionary presents a number of methods for the creation of politically charged interactive public events in the style of a how-to guide. UPRISING, a series of public demonstrations in eight locations in the United States and five in Europe, involved thousands of voluntary participants who came together to create radical change through performance art. Bringing together accounts by participants, writers, theorists, artists and activists, as well as photographs and critical essays, Performing Revolutionary offers a fresh perspective on the challenges of moving from critique to action.
, The result of five years of practice-based creative research focused on Nicole Garneau’s UPRISING project, Performing Revolutionary presents a number of methods for the creation of politically charged interactive public events in the style of a how-to guide. UPRISING, a series of public demonstrations in eight locations in the United States and five in Europe, involved thousands of voluntary participants who came together to create radical change through performance art. Bringing together accounts by participants, writers, theorists, artists and activists, as well as photographs and critical essays, Performing Revolutionary offers a fresh perspective on the challenges of moving from critique to action.]
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Precarious Spaces
Using an arts-based inquiry, Precarious Spaces addresses current concerns around the instrumentality and agency of art in the context of the precarity of daily life. The book offers a survey of socially and community-engaged art practices in South America, focusing in particular on Brazil’s 'informal' situation, and contributes much to the ongoing debate of the possibility for change through social, environmental and ecological solutions. The individual chapters, compiled by Katarzyna Kosmala and Miguel Imas, present a wide spectrum of contemporary social agency models with a particular emphasis on detailed case studies and local histories. Featuring critical reflections on the spaces of urban voids, derelict buildings, self-built communities such as favela and roadside occupations, Precarious Spaces will make readers question their assumptions about precarity, and life in precarious realms.
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Performing Processes
By Roberta Mock[Live performance continues to be created every time it is performed. This book explores the dynamic relationship between creative process, presentation and spectator response to provide students and scholars in Drama with new insights on performance from poetry to pantomime. These essays make parallels between areas of performance that are rarely, if ever, compared. They present the basis for an overall theory of how 'conception', 'development', 'presentation' and 'reception' are fused together to make up the overall 'performance'. This study investigates the relationship between the process of creating performance and spectator response, and how this exchange is embedded into the product itself. The authors draw on theoretical approaches from a range of sources, and examine the work of contemporary dramatists, choreographers, poets and performers. Its construction of a new, wide-ranging approach to performance research makes this book a valuable resource for the student as well as the broader academic community. It has application both as a textbook and for supplementary research on drama courses nationwide., Live performance continues to be created every time it is performed. This book explores the dynamic relationship between creative process, presentation and spectator response to provide students and scholars in Drama with new insights on performance from poetry to pantomime.
These essays make parallels between areas of performance that are rarely, if ever, compared. They present the basis for an overall theory of how 'conception', 'development', 'presentation' and 'reception' are fused together to make up the overall 'performance'. This study investigates the relationship between the process of creating performance and spectator response, and how this exchange is embedded into the product itself.
The authors draw on theoretical approaches from a range of sources, and examine the work of contemporary dramatists, choreographers, poets and performers including:
• Sarah Kane
• Iain Baxter
• Yolande Snaith
• Slobodan Snajder
• Phylis Nagy
• Steve Benson
• David Fielding
• David Antin
• Bette Midler
• Karen Malpede
• Stephen Daldry
• Mai Lanfang
Its construction of a new, wide-ranging approach to performance research makes this book a valuable resource for the student as well as the broader academic community. It has application both as a textbook and for supplementary research on drama courses nationwide.]
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