The Twenty-First Century Performance Reader combines extracts from over 70 international practitioners, companies, collectives, and makers from the fields of Dance, Theatre, Music, Live and Performance Art, and Activism to form an essential sourcebook for students, researchers, and practitioners.
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. Contributions from new and emerging practitioners are placed alongside those of long-established individual artists and companies, representing the work of this century’s leading practitioners through the voices of over 140 individuals. The contributors in this volume reflect the diverse and eclectic culture of practices that now make up the expanded field of performance, and their stories, reflections and working processes collectively offer a snapshot of contemporary artistic concerns. Many of the pieces have been specially commissioned for this edition and comprise a range of written forms – scholarly, academic, creative, interviews, diary entries, autobiographical, polemical, and visual.
Ideal for university students and instructors, this volume’s structure and global span invites readers to compare and cross-reference significant approaches outside of the constraints and simplifications of genre, encouraging cross-disciplinary understandings. For those who engage with new, live, and innovative approaches to performance and the interplay of radical ideas, The Twenty-First Century Performance Reader is invaluable.
WHAT’S LOVE GOT TO DO WITH IT? GEMMA AND JAMES AND ACTION HERO
ON MAKING THEATRE
PERFORMANCE THROUGH THE EGYPTIAN REVOLUTION: STORIES FROM TAHRIR
ULRIKE AND EAMON COMPLIANT: ARTISTS’ STATEMENT
CONFINED: STAGING/IMAGE MOMENTS
MARIANNE WEEMS IN CONVERSATION WITH ELEANOR BISHOP
A SELECTION OF ACTIONS
SOME THOUGHTS FOR THE FUTURE
THE MEMORY OF REMEMBERING: EXOMOLOGESIS AND EXAGOREUSIS IN THE EXPERIMENT
CLOD ENSEMBLE: PERFORMING MEDICINE
THE BODY OF MEMORY: MARIA JOSE CONTRERAS’ PERFORMANCE PRACTICES IN THE CHILEAN TRANSITION
A CONJURING ACT IN THE FORM OF AN INTERVIEW
SOME THOUGHTS ON THE QUALITY OF ATTENTION
A FUTURE BODY
ENDLESS DEATH SHOW
FROM ONE MEANING TO ANOTHER
THINGS THAT MUST BE DONE SERIES
AN ORGANIC JOURNEY
MAKING THINGS WORSE
THE FIFTH WALL
AESTHETIC OF ABSENCE: HOW IT ALL BEGAN
THE CAT TEST
PERFORMANCE AS AN INVESTIGATION OF THE WORLD
SOME BODY AND NO BODY: THE BODY OF A PERFORMER
THEATRICALISING CINEMA/SCREENING THEATRE
BUT THE WHORES ALWAYS LOVED ME
HOW WE SET OUT TO MAKE A PIECE ABOUT CONTROVERSIAL WORKS OF ART AND ENDED UP GETTING NAKED AND TALKING ABOUT HOW WE FEEL ABOUT OUR BODIES
THE ART OF KIRA O’REILLY
PERSONAL TRILOGY: THE SMILE OFF YOUR FACE, INTERNAL & GAME OF YOU
THIS IS A LOVE LETTER
WHERE ARE YOUR TRAINING GROUNDS?
A SHOW OF HANDS
"MIDDLES" & "PHYSICS"
A CHAT ABOUT COMEDY
A PERFORMANCE COLLECTIVE
DO IT TO ME LIKE IN A REAL MOVIE: LECTURE PERFORMANCE
LOST IN THE FUNHOUSE, OR ALL YOU NEED TO MAKE A SHOW IS A GIRL AND A MICROPHONE
THIS IS IT: NOTES ON A DEMATERIALISED THEATRE
THE THEATRE IS NOT OUR HOME: A CONVERSATION ABOUT SPACE, STAGE AND AUDIENCE
TESTING THE HYPOTHESIS
AM I DEAD YET?
THEATRE OF THE MIND
THE ART OF NOT LOOKING BACK / MOTHERLAND
DEMONSTRATING THE WORLD – A PUBLIC INTERVENTION PERFORMANCE
THEORY / LECTURES OF ANDRIY ZHOLDAK