Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Art --- Geometry --- driehoekscompositie --- passie (emotie) --- vrouwen --- renaissance --- emoties --- 15de eeuw --- 16de eeuw --- passies, emoties, affecties --- vrouw --- renaissance (historisch tijdvak, doorheen de 16e eeuw) --- driehoekscompositie. --- passies, emoties, affecties. --- vrouw. --- 15de eeuw. --- 16de eeuw. --- verzameling Fabienne en François Marchal. --- kermis en circus. --- volkskunst.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

'Performing Remains' explores the role of the fake, the false and the faux in contemporary theatre. Divided into seven essays, it examines both contemporary and historical performance with a wide scope, questioning the importance of representation and reassessing the ritual value of failure. 'Performing Remains' explores the role of the fake, the false and the faux in contemporary theatre. Divided into seven essays, it examines both contemporary and historical performance with a wide scope, questioning the importance of representation and reassessing the ritual value of failure. 'At last, the past has arrived! Performing Remains is Rebecca Schneider's authoritative statement on a major topic of interest to the field of theatre and performance studies. It extends and consolidates her pioneering contributions to the field through its interdisciplinary method, vivid writing, and stimulating polemic. Performing Remains has been eagerly awaited, and will be appreciated now and in the future for its rigorous investigations into the aesthetic and political potential of reenactments.' - Tavia Nyong'o, Tisch School of the Arts, New York University 'I have often wondered where the big, important, paradigm-changing book about re-enactment is: Schneider's book seems to me to be that book. Her work is challenging, thoughtful and innovative and will set the agenda for study in a number of areas for the next decade.' - Jerome de Groot, University of Manchester Performing Remains is a dazzling new study exploring the role of the fake, the false and the faux in contemporary performance. Rebecca Schneider argues passionately that performance can be engaged as what remains, rather than what disappears. Across seven essays, Schneider presents a forensic and unique examination of both contemporary and historical performance, drawing on a variety of elucidating sources including the "America" plays of Linda Mussmann and Suzan-Lori Parks, performances of Marina Abramovic' and Allison Smith, and the continued popular appeal of Civil War reenactments. Performing Remains questions the importance of representation throughout history and today, while boldly reassessing the ritual value of failure to recapture the past and recreate the "original."

Performing arts. --- Historical reenactments. --- Historical reenactments --- Arts du spectacle --- Reconstitution historique --- 82-2 --- Toneel. Drama --- 82-2 Toneel. Drama --- Performing arts --- Show business --- Arts --- Performance art --- Historic reenactments --- Historical re-enactments --- Historical reenactment --- History --- Re-enactments, Historical --- Reenactment of historical events --- Reenactments, Historical --- Reenactments --- Theatrical science --- drama [literature] --- Historical reenactments - United States. --- Historical reenactments --United States. --- Music, Dance, Drama & Film --- Languages & Literatures --- Literature - General --- Drama --- drama [discipline]

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Lemons gleam in a bowl. Flowers fan out softly in a vase. A door swings open in a sparsely furnished room. What is contained in a still life - and what falls out of the frame?0For women artists in the early twentieth century, including Ethel Sands, Nina Hamnett, Vanessa Bell and Gwen John, who lived in and around the Bloomsbury Group, this art form was a conduit for their lives, their rebellions, their quiet loves for men and women. Gluck, who challenged the framing of her gender and her art, painted flowers arranged by the woman she loved; Dora Carrington, a Slade School graduate, recorded eggs on a table at Tidmarsh Mill, where she built a richly fulfilling if delicate life with Lytton Strachey.0But for every artist we remember, there is one we have forgotten; who leaves only elusive traces; whose art was replaced by being a mother or wife; whose remaining artworks lie dusty in archives or attics.0In this boldly original blend of group biography and art criticism, Rebecca Birrell brings these shadowy figures into the light and conducts a dazzling investigation into the structures of intimacy that make - and dismantle - our worlds.

Women artists --- Bloomsbury group --- Still-life painting --- Arts, English --- History --- Arts, Modern --- Bloomsberries --- Authors, English --- English literature --- Philosophy, English --- Artists, Women --- Women as artists --- Artists --- vrouwelijke kunstenaars --- kunstkritiek --- gender --- stillevens --- Bloomsbury Group --- Carrington, Dora --- Waugh, Edna --- Sands, Ethel --- Hamnett, Nina --- Bell, Vanessa --- John, Gwen --- Gluck (pseud.) --- Gill, Winifred --- Coombe, Helen --- Lloyd, Mary Katherine Constance --- 20ste eeuw --- Groot-Brittannië --- vrouwelijke kunstenaars. --- kunstkritiek. --- gender. --- stillevens. --- Bloomsbury Group. --- Carrington, Dora. --- Waugh, Edna. --- Sands, Ethel. --- Hamnett, Nina. --- Bell, Vanessa. --- John, Gwen. --- Gluck (pseud.). --- Gill, Winifred. --- Coombe, Helen. --- Lloyd, Mary Katherine Constance. --- 20ste eeuw. --- Groot-Brittannië.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Duo's --- Kamermuziek --- Verenigd Koninkrijk --- 20e eeuw

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Masterproeven --- Verslagen --- Gamba --- Koninklijk Conservatorium Brussel --- Historische muziek