This book clarifies the musical dramaturgy of comedy writer and musician Luiz Carlos Martins Penna (1815-48) - a notion that encompasses both the theatrical text and its performance. The corpus for this analysis is composed of twelve comedies by Martins Penna written between 1833 and 1846, divided into three groups, which I have called Lundu, Aria, and Alleluia. The sound universe made up by the three groups of comedies covers African-Brazilian genres and musical-choreographic styles (batuque, fado, lundu, miudinho, muquir o), the transnational urban popular universe (lundu, tirana, quadrilha, marcha, waltz, caxuxa, tonadilla, polka), and modinhas and Italian opera, in addition to romantic concertos, Gregorian chant and Iberian religious theater (loas). To evaluate the multiple meanings acquired by the musical allusions inserted into the comedy texts and theatrical performances, this research reveals the network which included the author, actors, theater owners, publishers and the public, and other agents, such as black Catholic irmandades (brotherhoods), Freemasonry, and institutions linked to the imperial government. The sound universe of the comedies of Martins Penna are compared to the comedic axes of the Western theatrical tradition (a study of situations and characters) and the axes of performance (solo and chorus), contemplating the relationship between the repertoires written by Martins Penna and the repertoires of Brazilians and Portuguese artists, a mix of actors, singers and dancers, who performed in his comedies. The research questions the notion of authorship and reveals the importance of the partnership between theatrical writers, artists and publishers, through which the comedies of Martins Penna have reached the second half of the nineteenth century through the present.
The publication presents an overview of the artist's works from the end of the 1990s onward and reflects on the meaning of chance, play and research in Brudermann's work, as emphasized by the letters, playing cards and business cards that are inserted between the pages of the book.
Odyssey Works infiltrates the life of one person at a time to create a customtailored, life-altering performance. It may last for one day or a few months and consists of experiences that blur the boundaries of life and art--is that subway mariachi band, used book of poetry, or meal with a new friend real or a part of the performance?Central to this book is their 2013 performance for Rick Moody, author of The Ice Storm. His Odyssey lasted four months and included a fake children's book, introducing the themes of his performance, and a cello concert in a Saskatchewan prairie (which Moody almost missed after being stopped at customs with, suspiciously, no idea why he was traveling to Canada). The book includes Moody's interviews with Odyssey Works, an original short story by Amy Hempel, and six proposals for a new theory of making art.
Using elements of autobiography to address such issues as religion, sex, race, family and the struggle of women to move beyond their traditional roles in society, these women integrate aspects of ritual, monologue, music, visual arts and theatre in their performances as they help to forge a new literary and theatrical tradition.
In 1975, a small group of enterprising, discontented members of the international art community in Quebec posed the question: "What do we know of contemporary art outside of Quebec, in Canada or abroad? Do we even know what contemporary art exists in Montreal? How does information about art circulate?" By way of an answer, the artistically unconventional and theoretically cutting-edge magazine Parachute was launched, founded by Chantal Pontbriand and France Morin. Artists such as Jeff Wall, Bill Viola, Stan Douglas, Eija-Liisa Ahtila and many others had the first significant critical reception of their work in Parachute. Similarly, figures such as Douglas Crimp, Thomas Crow, Thierry de Duve, Georges Didi-Huberman, Hal Foster and Laura Mulvey published important early essays in the journal. This second volume of writings from Parachute gathers texts around "Performance and Performativity."
In this important new survey, Catherine Wood proposes that performance is not a genre of art separate from object making but rather an attitude that has infiltrated the entire terrain of contemporary art. Examining in turn individual, social, and object-based approaches, Wood first examines the influential performance art of the 1960s to 1980s: the body art of the Viennese actionists, the raw performances of Yoko Ono and Chris Burden, and the experiments of the Japanese Gutai group, among others. She then explores how these sources have been revisited, reformed, or rejected by con- temporary artists in the 21st century. This impressive book includes international artists who fall outside the traditional European and North American focus, giving the reader the broadest and most up-to-date insight into the subject yet published.
This major survey charts the development of live art across six continents since the turn of the twenty- first century, revealing how it has become an increasingly essential vehicle for communicating ideas across the globe in the new millennium.
Performance Now offers an unprecedented illustrated survey of this temporal medium which is notoriously hard to document, written by respected curator, art historian, and critic RoseLee Goldberg. Six chapters cover different themes of performance art, such as beauty, global citizenship, and activism, as well as its intersection with other media including film and technology, dance, theater and architecture--interspersed with illustrated profiles of some of the world's best-known performance artists, including Marina Abramovic, Matthew Barney, and Laurie Simmons. Extended captions assess the importance of specific works in context.
At once a wonderful introduction to the medium and a must-have sourcebook for fans, Performance Now is the go-to reference for artists, students, and historians as well as lovers of avant-garde theater and film.
Philippe Parreno (born 1964) is interested more in the dynamics of how a work of art is shown to the public than in its actual production, and in his films, installations, performances and texts, he subverts the codes normally applied to exhibition spaces. By placing the construction of the exhibition at the heart of his process, the French artist redefines the exhibition experience as a coherent object rather than a collection of individual works. "The exhibition is conceived as a scripted space," he writes, "like an automaton, producing different temporalities, a rhythm, an itinerary, and a duration. The visitor is guided through the spaces by the appearance and orchestration of sounds and images ... a mental choreography."Published to accompany his 2015 exhibitions in New York and Milan, Hypnosis Hypothesis offers a rich critical overview of Parreno's work, featuring essays by Cyril B ghin, Molly Nesbit, Brian O'Doherty and Adam Thirlwell, and interviews with exhibition curators Hans Ulrich Obrist and Andrea Lissoni. The monograph provides invaluable new research on one of the most influential and charismatic figures on the contemporary art scene.
There is no fourth wall in popular performance. The show is firmly rooted in the here and now, and the performers address the audience directly, while the audience answer back with laughter, applause or heckling. Performer and role are interlaced, so that we are left uncertain about just how the persona we see onstage might relate to the private person who presents it to us.
Popular Performance defines and surveys varieties of performance where the main purpose is to entertain, and where there is no shame in being trivial, frivolous or nonsensical as long as people go home happy at the end of the show. Contributions by new and established scholars focus particularly on how it is made, explaining the techniques of performance and production that make it so appealing to audiences. With sections examining how popular performance works in a range of historical and contemporary examples, readers will gain insights into:
* performance forms associated with the variety tradition: music hall, vaudeville, cabaret, variety
* performance forms associated with circus: wild west shows, clowning
* issues relating to the identity of the performer in relation to magic, burlesque, pantomime in contemporary performance
* issues relating to venue and audience in relation to contemporary street theatre, stand-up, and live sketch comedy.