The Creative Critic: Writing as/about Practice, 1st Edition (Paperback) book cover

The Creative Critic

Writing as/about Practice, 1st Edition

Edited by Katja Hilevaara, Emily Orley

Routledge

304 pages | 69 B/W Illus.

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Description

As practitioner-researchers, how do we discuss and analyse our work without losing the creative drive that inspired us in the first place?

Built around a diverse selection of writings from leading researcher-practitioners and emerging artists in a variety of fields, The Creative Critic: Writing as/about Practice celebrates the extraordinary range of possibilities available when writing about one’s own work and the work one is inspired by. It re-thinks the conventions of the scholarly output to propose that critical writing be understood as an integral part of the artistic process, and even as artwork in its own right.

Finding ways to make the intangible nature of much of our work ‘count’ under assessment has become increasingly important in the Academy and beyond. The Creative Critic offers an inspiring and useful sourcebook for students and practitioner-researchers navigating this area.

Please see the companion site to the book, http://www.creativecritic.co.uk, where some of the chapters have become unfixed from the page.

Table of Contents

Foreword Jane Rendell

Introduction Orley and Hilevaara

Section One: Manifesto (How)

    1. I Am for an Art Writing Susannah Thompson
    2. Lyric Theory PA Skantze
    3. Notitia, Trust, and Creative Research Iain Biggs
    4. Writing Without Writing: Conversation as Material Emma Cocker
    5. The Distracted Cyclist G D White
    6. Footnoting Performance Mike Pearson
    7. An extract from Asara and the Sea-Monstress: a Play with Theory Mojisola Adebayo
    8. Same Difference Nic Conibere
    9. Critical groundlessness: Reflections on embodiment, virtuality and Quizoola LIVE Diana Damian Martin
    10. A Conjuring Act in The Form of an Interview Augusto Corrieri
    11. Yoko Ono Fanfiction owko69 (Owen G. Parry)
    12. A Fugue State of Theatre Joe Kelleher
    13. Writing with fungi, contagious Taru Elfving

Middleword One Peter Jaeger

Section Two: Position (Where)

    1. The Blind & Deaf Highway Woman Undine Sellbach and Stephen Loo
    2. Writing about the Sound of Unicorns Salome Voegelin
    3. Far Stretch – Listening to Sound Happening Ella Finer
    4. Instructions for Literature and Life: Writing-With Landscape Performances of Joy Helene Frichot
    5. Thirteen Points, Expanded Kristen Kreider and James O’Leary
    6. Returning in the House of Democracy Brigid McLeer
    7. Dancing Architecture: Architect-Walking Cathy Turner
    8. Dolphin Square to MI6 Walk – produced by Disappearing, almost Phil Smith
    9. It Moves: reflections on walking as a practice of writing Mary Paterson
    10. In departures, not departing Tim Etchells
    11. Within the margarine of error: on performing Michael Basinski’s ‘The Germ of Creativity’ Chris Goode
    12. Elfie und Elsinore (fur Heidi) Hayley Newman
    13. Marking a Life Mitch Rose

Middleword Two Maria Fusco

Section Three: Beside-ness (Whom)

    1. Stains & Other Traces: Notebooks and Critical Practice Simon Piasecki
    2. An Actor’s Attempt at Sisyphus’ Stone: Memory, Performance and Archetype Goze Saner
    3. 81 Sentences for Squat Theater circa 1981 Lin Hixson and Matthew Goulish
    4. Language, Lips and Legacy: a pedlar’s life for me Tracy McKenna
    5. A Series of Continuous Accidents Rajni Shah
    6. The Construction of Self(ies) Joanne ‘Bob’ Whalley & Lee Miller
    7. The Path on the Floor and Other Uses of Hand-drawing Karen Christopher
    8. Searching for the ‘bandaged place’ Louise Tondeur
    9. The Catalogue for the Public Library of Private Acts Johanna Linsley
    10. Field Notes from a Choreographic Practice Lucy Cash
    11. K.Bae.Tré Douglas Kearney

Middleword Three Timothy Matthews

Afterword Jane Rendell

About the Editors

Katja Hilevaara is a collaborative artist, researcher and teacher who works in performance, installation and art-writing. Her research is concerned with (mis-) remembering, creative constraint and ideas surrounding maintenance, care and enchantment. She lectures at Goldsmiths, University of London, UK. www.katjahilevaara.com

Emily Orley is a practitioner-researcher whose work includes performance, installation and art- (or place- or commemorative-) writing. She has been making work on her own and in collaboration for 17 years and currently lectures at the University of Roehampton, UK in the Drama, Theatre and Performance Department. www.emilyorley.com

Subject Categories

BISAC Subject Codes/Headings:
ART009000
ART / Criticism & Theory
ART016020
ART / Individual Artists / Essays
ART060000
ART / Performance
PER011000
PERFORMING ARTS / Theater / General
PER011020
PERFORMING ARTS / Theater / History & Criticism