Listing 1 - 10 of 585 | << page >> |
Sort by
|
Choose an application
Performance art in Western Europe and North America developed in part as a response to the commercialisation of the art object, as artists endeavoured to create works of art that could not be bought or sold. But what are the roots of performance art in Eastern Europe and Russia, where there was no real art market to speak of? While many artworks created in the 'East' may resemble Western performance art practices, their origins, as well as their meaning and significance, is decidedly different. By placing specific performances from Russia, Latvia and Poland from the late- and post-communist pe.
Choose an application
"Since entering the performance lexicon in the 1970s, the term Live Art has been used to describe a diverse but interrelated array of performance practices and approaches. This volume offers a contextual and critical introduction to the scene of contemporary Live Art in Britain. Focusing on key artists whose prolific body of work has been vital to the development of contemporary practice, this collection studies the landscape of Live Art in the UK today and illuminates its origins, as well as particular concerns and aesthetics. The introduction to the volume situates Live Art in relation to other areas of artistic practice and explores the form as a British phenomenon. It considers questions of cultural specificity, financial and institutional support, and social engagement, by tracing the work and impact of key organizations on the UK scene: the Live Art Development Agency, SPILL Festival of Performance and Compass Live Art. Across three sections, leading scholars offer case studies exploring the practice of key artists Tim Etchells, Marisa Carnesky, Marcia Farquhar, Franko B, Martin O'Brien, Oreet Ashery, David Hoyle, Jordan McKenzie, and Cosey Fanni Tutti."--
Choose an application
Choose an application
"Opening with an account of print portraiture facilitating Franz Liszt's celebrity status and concluding with Riot Grrrl's noisy politics of feminism and performance, this interdisciplinary anthology charts the relationship between music and the visual arts from late Romanticism and the birth of modernism to 'postmodernism', while crossing from Western art to the Middle East. Focused on music as a central experience of art and life, these essays scrutinize 'the musicalisation of art' focusing on the visual and performing arts and detailing significant instances of intra-art relations between c. 1840 and the present day. Essays reflect on the aesthetic relationships of music to painting, performance and installation, sound-and- silence, time-and-space. The insistent influence of Wagner is considered as well as the work and ideas of Manet, Satie and Cage, Thomas Wilfred, La Monte Young and Eliasson. What distinguishes these studies are the convictions that music is never alone and that a full understanding of the 'isms' of the last two hundred years is best achieved when music's influential presence in the visual arts is acknowledged and interrogated."--Bloomsbury Publishing Opening with an account of print portraiture facilitating Franz Liszt's celebrity status and concluding with Riot Grrrl's noisy politics of feminism and performance, this interdisciplinary anthology charts the relationship between music and the visual arts from late Romanticism and the birth of modernism to 'postmodernism', while crossing from Western art to the Middle East. Focused on music as a central experience of art and life, these essays scrutinize 'the musicalisation of art' focusing on the visual and performing arts and detailing significant instances of intra-art relations between c. 1840 and the present day. Essays reflect on the aesthetic relationships of music to painting, performance and installation, sound-and- silence, time-and-space. The insistent influence of Wagner is considered as well as the work and ideas of Manet, Satie and Cage, Thomas Wilfred, La Monte Young and Eliasson. What distinguishes these studies are the convictions that music is never alone and that a full understanding of the "isms" of the last two hundred years is best achieved when music's influential presence in the visual arts is acknowledged and interrogated
Choose an application
"Contemporary theatrical productions as diverse in form as experimental performance, new writing, West End drama, musicals and live art demonstrate a recurring fascination with adapting existing works by other artists, writers, filmmakers and stage practitioners. Featuring seventeen interviews with internationally-renowned theatre and performance artists, Theatre and Adaptation provides an exceptionally rich study of the variety of work developed in recent years. First-hand accounts illuminate a diverse range of approaches to stage adaptation, ranging from playwriting to directing, Javanese puppetry to British children's theatre, and feminist performance to Japanese Noh"--Publisher's website.
Choose an application
Brecht's ""Work Journals"" cover the period from 1938 to 1955, the years of exile and his return to East Berlin. The accounts of his writing practice provide insight into the creation of his dramatic works, the development of his political thinking and his theories about epic theatre.
Performing arts --- Show business --- Arts --- Performance art
Choose an application
Russian Performances is the first volume to bring the field of Russian Studies, broadly conceived, into dialog with the field of Performance Studies. The volume has a guiding vision: to demonstrate the relevance of Performance Studies to the study of Russia, as well as the unique genealogy of Performance Studies in the Russian context, that is, to show both theory and praxis. The contributions to Russian Performances foster larger intellectual communities by showcasing new work in Russian Studies from the disciplines of anthropology, art history, dance studies, film studies, cultural and social history, literary studies, musicology, political science, theater studies, and sociology. The book contains 27 brief essays, each of which analyzes and theorizes a particular instance of performance in Russian culture.
Performing arts --- Show business --- Arts --- Performance art
Choose an application
Moving the chronology a bit, it is possible to trace with these pieces by Miguel Castro Caldas (MCC) a narrative arc of conjugality: the first steps of a couple in the epilogue of The Killers (2011), the marriage proposal in Coal On Canvas (2012), infidelity in the Restoration of Conjugal Society (2010), life with children in Wilderness (2016), again infidelity in If I lived you would die (2016), loneliness (widowhood?) of I don't usually talk to you (2017). Why this interest in the institution of marriage? Perhaps it is precisely because it is such a conventional situation that even subversion (or betrayal) is commonplace: from "boy meets girl" to "happily ever after" or not at all, between getting married and getting tired, this is a tired subject from which all variations have been experienced. [...] Marriage is a narrative formula that MCC uses less to dismantle its ideology than to dispense with the need for a narrative itself-and so use time in another way. MCC's writing practices a certain disrespect for institutions, starting with its own writing.
Performing arts. --- Show business --- Arts --- Performance art
Choose an application
Arrasada Troia, mortos os homens, procede-se à distribuição das mulheres da Casa de Príamo entre os triunfantes chefes gregos. O fundo clássico da tragédia é ligeiramente alterado quer pelos conflitos entre os vencedores, quer por versões inesperadas do destino das mulheres, quer pela presença dos lobos que não entendem os motivos belicistas dos humanos.
Performing arts. --- Show business --- Arts --- Performance art
Choose an application
This text highlights that masquerade can be regarded as a distinct genre of performance activity that employs elements of the carnivalesque, circus, dance, gestural theatre and theatre of objects.
Listing 1 - 10 of 585 | << page >> |
Sort by
|