Twenty-First Century Performance Reader

<p><em>The Twenty-First Century Performance Reader</em> 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. </p><p>This is the follow-on text from <i>The Twentieth-Century Performance Reader</i>, 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.</p><p>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, <i>The Twenty-First Century Performance Reader</i> is invaluable.</p> <p>Acknowledgements</p><p>In Dialogue...</p><p>Introduction</p><ol> <b> </b><p> </p> <li>Action Hero</li> <p>WHAT’S LOVE GOT TO DO WITH IT? GEMMA AND JAMES AND ACTION HERO</p> <b> </b><p> </p> <li>Mohammad Aghebati</li> <p>INTERVIEW</p> <b> </b><p> </p> <li>Patricia Ariza<br>INTERVIEW</li> <b> </b> <p> </p> <li>Back to Back Theatre</li> <p>ON MAKING THEATRE</p> <b> </b><p> </p> <li>Brett Bailey </li> <p>INTERVIEW</p> <b> </b><p> </p> <li>Dalia Basiouny</li> <p>PERFORMANCE THROUGH THE EGYPTIAN REVOLUTION: STORIES FROM TAHRIR </p> <li> <p><strong>Jérôme Bel</strong> </p> </li> <p>INTERVIEW</p> <b> </b><p> </p> <li>Blast Theory</li> <i> </i><p>ULRIKE AND EAMON COMPLIANT: ARTISTS’ STATEMENT<i> </i></p> <b> </b><p> </p> <li>Tammy Brennan</li> <i> </i><p>CONFINED: STAGING/IMAGE MOMENTS </p> <b> </b><p> </p> <li>Tania Bruguera</li> <p>INTERVIEW</p> <b> </b> <p> </p> <li>Builders Association</li> <p>MARIANNE WEEMS IN CONVERSATION WITH ELEANOR BISHOP </p> <b> </b><p> </p> <li>Liu Chengrui</li> <p>A SELECTION OF ACTIONS</p> <b> </b> <p> </p> <li>Padmini Chettur<br>SOME THOUGHTS FOR THE FUTURE </li> <b> </b><p> </p> <li>Constantin Chiriac</li> <p>INTERVIEW</p> <b> </b> <p> </p> <li>David Chisholm</li> <p>THE MEMORY OF REMEMBERING: EXOMOLOGESIS AND EXAGOREUSIS IN <i>THE EXPERIMENT </i></p> <p> </p> <li>Clod Ensemble</li> <p>CLOD ENSEMBLE: PERFORMING MEDICINE </p> <p> </p> <li> <p><strong>María José Contreras</strong> </p> </li> <p>THE BODY OF MEMORY: MARIA JOSE CONTRERAS’ PERFORMANCE PRACTICES IN THE CHILEAN TRANSITION </p> <b> </b> <p> </p> <li>Augusto Corriere</li> <p>A CONJURING ACT IN THE FORM OF AN INTERVIEW </p> <b> </b><p> </p> <li>Tim Crouch</li> <p>INTERVIEW</p> <li> <p><strong>Dah Theatre</strong> </p> </li> <p>SOME THOUGHTS ON THE QUALITY OF ATTENTION </p> <li> <p><strong>Tess de Quincey</strong></p> </li> <p>A FUTURE BODY </p> <p> </p> <li> <p><strong>Derevo</strong></p> </li> <p>ENDLESS DEATH SHOW </p> <b> </b><p> </p> <li>Dood Paard</li> <p>ABOUT US</p> <b> </b> <p> </p> <li>Every House Has A Door</li> <p>FROM ONE MEANING TO ANOTHER </p> <p> </p> <li>Eleonora Fabião</li> <p>THINGS THAT MUST BE DONE SERIES </p> <p> </p> <li> <strong>Oliver </strong><strong>Frljić</strong> </li> <p>INTERVIEW</p> <b> </b> <p> </p> <li>Gecko</li> <p>AN ORGANIC JOURNEY </p> <b> </b> <p> </p> <li>GETINTHEBACKOFTHEVAN</li> <p>MAKING THINGS WORSE </p> <b> </b> <p> </p> <li>Gibson/Martelli</li> <p>THE FIFTH WALL </p> <b> </b><p> </p> <li>Gob Squad</li> <p>ON PARTICIPATION </p> <b> </b> <p> </p> <li>Heiner Goebbels <br>AESTHETIC OF ABSENCE: HOW IT ALL BEGAN</li> <b> </b> <p> </p> <li>Chris Goode</li> <p>THE CAT TEST</p> <b> </b> <p> </p> <li>Shirotama Hitsujiya</li> <p>INTERVIEW</p> <b> </b> <p> </p> <li>Hotel Pro Forma</li> <p>PERFORMANCE AS AN INVESTIGATION OF THE WORLD </p> <b> </b><p> </p> <li>Wendy Houstoun</li> <p>SOME BODY AND NO BODY: THE BODY OF A PERFORMER</p> <b> </b> <p> </p> <li>Imitating The Dog</li> <p>THEATRICALISING CINEMA/SCREENING THEATRE </p> <b> </b> <p> </p> <li>Hiwa K<br>INTERVIEW</li> <b> </b> <p> </p> <li>La Fura dels Baus</li> <p>INTERVIEW</p> <p> </p> <li>Lone Twin</li> <p>INTERVIEW</p> <b> </b> <p> </p> <li>Silvia Mercuriali</li> <p>INTERVIEW</p> <p> </p> <li>Monster Truck</li> <p>BUT THE WHORES ALWAYS LOVED ME </p> <b> </b> <p> </p> <li>Needcompany<br>INTERVIEW</li> <b> </b> <p> </p> <li>New Art Club</li> <p>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 </p> <b> </b><p> </p> <li>Kira O’Reilly</li> <p>THE ART OF KIRA O’REILLY </p> <b> </b> <p> </p> <li>Oblivia</li> <p>TIME STOPPER </p> <p> </p> <li> <p><strong>Toshiki Okada</strong> </p> </li> <p>INTERVIEW</p> <b> </b> <p> </p> <li>Ontroerend Goed</li> <p>PERSONAL TRILOGY: <i>THE SMILE OFF YOUR FACE, INTERNAL </i>& <i>GAME OF YOU </i></p> <b> </b><p> </p> <li>Mike Pearson</li> <p>BUBBLING TOM </p> <p> </p> <li>Michael Pinchbeck</li> <p>THIS IS A LOVE LETTER </p> <b> </b> <p> </p> <li>Punchdrunk</li> <p>INTERVIEW</p> <p> </p> <li><strong>Silviu Purcārete</strong></li> <p>WHERE ARE YOUR TRAINING GROUNDS? </p> <b> </b> <p> </p> <li>Quarantine</li> <p>A SHOW OF HANDS </p> <b> </b> <p> </p> <li>Reckless Sleepers</li> <p>"MIDDLES" & "PHYSICS"</p> <b> </b> <p> </p> <li>Ridiculusmus </li> <p>A CHAT ABOUT COMEDY </p> <b> </b> <p> </p> <li>Rimini Protokoll</li> <p>INTERVIEW </p> <b> </b> <p> </p> <li>Farah Saleh</li> <p>INTERVIEW</p> <b> </b> <p> </p> <li>Peter Sellars<br>INTERVIEW </li> <b> </b> <p> </p> <li>Shunt</li> <p>A PERFORMANCE COLLECTIVE </p> <li> <strong>Agata </strong><strong>Siniarska</strong> </li> <p>DO IT TO ME LIKE IN A REAL MOVIE: LECTURE PERFORMANCE </p> <b> </b> <p> </p> <li>Deepan Sivaraman</li> <p>INTERVIEW</p> <b> </b> <p> </p> <li>Sleepwalk Collective </li> <p>LOST IN THE FUNHOUSE, OR ALL YOU NEED TO MAKE A SHOW IS A GIRL AND A MICROPHONE </p> <b> </b> <p> </p> <li>Andy Smith</li> <p>THIS IS IT: NOTES ON A DEMATERIALISED THEATRE </p> <p> </p> <li> <p><strong>Socìetas Raffaello Sanzio</strong> </p> </li> <p>THE THEATRE IS NOT OUR HOME: A CONVERSATION ABOUT SPACE, STAGE AND AUDIENCE</p> <b> </b> <p> </p> <li>Junnosuke Tada<br>INTERVIEW<br> </li> <b> </b><p> </p> <li>Third Angel<br>TESTING THE HYPOTHESIS<br> </li> <b> </b><p> </p> <li>Ultima Vez <br>INTERVIEW<br> </li> <b> </b><p> </p> <li>Unlimited<br>AM I DEAD YET? </li> <b> </b> <p> </p> <li>Sankar Venkateswaran<br>THEATRE OF THE MIND<br> </li> <b> </b><p> </p> <li>Dries Verhoeven<br>INTERVIEW<br> </li> <b> </b><p> </p> <li>Vincent Dance Theatre<br>THE ART OF NOT LOOKING BACK / MOTHERLAND<br> </li> <b> </b><p> </p> <li>Aaron Williamson<br><i>DEMONSTRATING THE WORLD</i> – A PUBLIC INTERVENTION PERFORMANCE <br> </li> <b> </b><p> </p> <li>Xing Xin<br>INTERVIEW<br> </li> <b> </b><p> </p> <li>Andriy Zholdak<br>THEORY / LECTURES OF ANDRIY ZHOLDAK</li> </ol><p>Index</p>