Author: Stephen Bottoms
Release Date: 2013-04-03
Genre: Performing Arts
Goat Island are one of the world’s leading contemporary performance ensembles. Their intimate, low-tech, intensely physical performances represent a unique hybrid of strategies and techniques drawn from live art, experimental theatre and postmodern dance. Small Acts of Repair: Performance, Ecology and Goat Island, is the first book to document and critique the company’s performances, processes, politics, aesthetics, and philosophies. It reflects on the company’s work through the critical lens of ecology – an emerging and urgent concern in performance studies and elsewhere. This collage text combines and juxtaposes writing by company members and arts commentators, to look in detail at Goat Island’s distinctive collaborative processes and the reception of their work in performance. The book includes a section of practical workshop exercises and thoughts on teaching drawn from the company’s extensive experience, providing an invaluable classroom resource. By documenting the creative processes of this extraordinary company, this book will make an important contribution to the critical debates surrounding contemporary performance practices. In so doing, it pays compelling tribute to committed art-making, creativity, collaboration, and the nature of the possible.
Artists especially from dance and performance art as well as opera are involved to an increasing degree in the transfer between different media, not only in their productions but also the events, materials, and documents that surround them. At the same time, the focus on that which remains has become central to any discussion of performance. Performing Arts in Transition explores what takes place in the moments of transition from one medium to another, and from the live performance to that which "survives" it. Case studies from a broad range of interdisciplinary scholars address phenomena such as: The dynamics of transfer between the performing and visual arts. The philosophy and terminologies of transitioning between media. Narratives and counternarratives in historical re-creations. The status of chronology and the document in art scholarship. This is an essential contribution to a vibrant, multidisciplinary and international field of research emerging at the intersections of performance, visual arts, and media studies.
Thinking Through Theatre and Performance presents a bold and innovative approach to the study of theatre and performance. Instead of topics, genres, histories or theories, the book starts with the questions that theatre and performance are uniquely capable of asking: How does theatre function as a place for seeing and hearing? How do not only bodies and voices but also objects and media perform? How do memories, emotions and ideas continue to do their work when the performance is over? And how can theatre and performance intervene in social, political and environmental structures and frameworks? Written by leading international scholars, each chapter of this volume is built around a key performance example, and detailed discussions introduce the methodologies and theories that help us understand how these performances are practices of enquiry into the world. Thinking through Theatre and Performance is essential for those involved in making, enjoying, critiquing and studying theatre, and will appeal to anyone who is interested in the questions that theatre and performance ask of themselves and of us.
Publisher: Stanford University
Release Date: 2011
This project focuses on the process and performance of three contemporary collective creation groups: Goat Island, Elevator Repair Service, and Nature Theater of Oklahoma. I draw processual and aesthetic connections between collective creation methodologies and the consequences of those methodologies in performance, claiming that processes leave footprints that are ultimately visible to audiences, though their visibility requires new ways of seeing. Taking into account an American genealogy of collective creation, I outline the footprints of method through the images of everyday employment, instances of untrained bodies enacting danced gesture, and the speeds and velocities that characterize the work of these three contemporary groups. Through these aesthetics we can locate evidence of methodological principles that constitute a politics. In the work of Goat Island, Elevator Repair Service, and Nature Theater of Oklahoma, this politics does not play out through the ideological content of performance, but is embedded within collaborative acts of making.
Literary Nonfiction. Poetry. Introduction by Jane Blocker. 2nd Edition. THE BRIGHTEST THING IN THE WORLD: 3 LECTURES FROM THE INSTITUTE OF FAILURE is a collection of essays that touch on seating strategies, Dick Cheney, cuckoo clocks, the Fibonacci series, butterflies and old friends. These threads weave together like a tapestry and by their accumulated resonance create an impression of loss and longing. As in Sebald's The Rings of Saturn, the reader passes through an associative experience. These are the essays of a poet; like a performance of words, each verb is as active as a muscle. While every sentence tends to its end, the reader resists its inevitable conclusion. Layout and design by Sonnenzimmer.
Poetry. Literary Nonfiction. Dan Beachy-Quick and Matthew Goulish set up a room in Marcel Proust's house of memory in which poetry and prose could enact a dialogue, structured as a parallel weave, on several subjects from Proust's novel, as a way of extending their experience of reading. They selected three aspects or elements from Proust's work and wrote in response to them, on alternating pages that also responded to what the other had written. These were the first book, Swann's Way; the in/famous "long sentence" in Sodom and Gomorrah; and the idea/concept of captivity as marked in the moment in The Captive when the narrator watches Albertine as she sleeps. The result, on face-to-face pages, asks the reader to figure out what to privilege in the reading, a work that requires both memory and audacity (how return, how move forward, to read everything, or to privilege one form over another). "I will recall passages from this book like the stanzas of songs I heard on the radio during my childhood, word for word at the most unexpected times. Or, I will forget the words of this book entirely only to experience what the book describes—all of my faculties working together simultaneously unaware that they are each part of a cosmos. Let us navigate this multi-verse by appending the names of favorite authors to newly discovered constellations. Let us imagine that each book we've read is the same book, one read to us long ago by a beloved caretaker who satisfied our every need before we could recite the alphabet. This book."—Gregg Bordowitz