Books, books, books… & a DVD

We’ve added some new items to the collections this week…

Face On: disability arts in Ireland & beyond
Katie O’Reilly (ed)

Main Book Collection
700.87 FAC

This international publication explores Disability and Deaf
arts and culture in an Irish context. A thought provoking collection
contains compelling, engaging, honest and often humorous accounts of
artists’ personal experiences of disability in terms of both their lives as
artists and their identities. Pioneers and veterans of Disability Arts
practice meet emerging disability artists and innovators in form; shared
experience and difference is acknowledged, whilst speculation, advice and
hopes are offered up for the future.

Featuring 24 contributions from key thinkers and artists from the
disciplines of visual art, dance, theatre, literature, film and comedy,
Face On presents cultural and political commentary, poetry, academic
essays, life writing, extracts from existing scripts and a wealth of visual
art.

Source: 26/11/14, www.amazon.co.uk

Practice as research in the arts: principles, protocols, pedagogies, resistances
Robin Nelson
Practice as Research in the Arts
Main Book Collection
700.72 NEL

This book takes a fresh ‘how to’ approach to Practice as Research. At the ‘performance turn’ it argues that old prejudices should be abandoned and that a PaR methodology and its modes of ‘doing-knowing’ should be fully accepted in the academy. It refines Robin Nelson’s earlier models for PaR but sustains the dynamic and dialogic interplay between different modes of knowledge-production in a multi-mode research inquiry. It advances strategies for articulating and evidencing the research inquiry and offers practical guidance to practitioner-researchers on how to conduct a PaR inquiry. With reference to examples drawn from a decade of supervisory, examining and audit experience, Nelson addresses – and offers answers to – the many questions students, professional practitioner-researchers, regulators and examiners have posed in this domain. To broaden the perspective and take account of differing levels of acceptance and development of programmes in PaR around the word, in Part II of the book six international contributors respond to Part I and afford cross-sights from the standpoint of their territory (covering the US, Europe, South Africa and New Zealand).

Source: 26/11/14, http://www.palgrave.com/page/detail/practice-as-research-in-the-arts-robin-nelson/?K=9781137282897

Liminal acts
Susan Bradhurst

Main Book Collection
792.022 BRO
The term liminal refers to a marginalized space of fertile chaos and creative potential where nothing is fixed or certain. Liminal performance is an emerging genre which has surfaced only in recent times and describes a range of interdisciplinary, highly experimental, performative works in theatre and performance, film and music-performances which can be seen to prioritize the body, the technological and the primordial. Broadhurst argues that traditional and contemporary critical and aesthetic theories are ultimately deficient in interpreting liminal performance. This revolutionary work first surveys traditional aesthetics in the writings of Kant, Nietzsche and Heidegger and juxtaposes them with contemporary aesthetics in the writings of Foucault, Derrida, Baudrillard and Lyotard. A series of case studies follows and, Broadhurst concludes with a summary description of liminal performances as an emerging genre. Works discussed in detail include: Pina Bausch’s Tanztheater, the innovative Theatre of Images of Robert Wilson and Philip Glass, the controversial social sculptures of the Viennese Actionists, Peter Greenaway’s painterly aesthetics, Derek Jarman’s queer politics, digitized sampled music, and neo-gothic sound.

Donated by Catherine Burge

Source: 26/11/14, http://www.amazon.co.uk/Liminal-Acts-Critical-Contemporary-Performance/dp/0304705861

What the body cost?
Jane Blocker
What the Body Cost
Main Book Collection
700 BLO
Reexamines rebelliousness and desire in the history of performance art. Jane Blocker revisits key works in performance art by Carolee Schneemann, Vito Acconci, Hannah Wilke and others to challenge earlier critiques that characterize body art as a purely revolutionary art form and fail to recognize its reactionary—and sometimes damaging—effects. The scholarship on performance art has not, she finds, gone far enough in locating the body at the center of the performance.

Donated by Catherine Burge

Source: 26/11/14, http://www.upress.umn.edu/book-division/books/what-the-body-cost

Danse: an anthology
Noemie Solomon (ed)

Main Book Collection
792.8 DAN
Danse – An Anthology traces the ways in which contemporary dance has become a site for vital experiments on questions of the body, identity, belonging, knowledge economies, and globalization. This dynamic and wide-ranging collection maps the numerous exchanges between Francophone and Anglophone performance cultures and critical thought. Many of the texts included in this volume are translated into English for the first time.
Danse is a multifaceted initiative organized by the Cultural Services of the French Embassy in New York exploring contemporary dance through performances, talks and critical writing. In conjunction with Danse – A French-American Festival of Performance and Ideas, New York, May 1-18, 2014, with 17 companies from France, the publication Danse – An Anthology is produced.

Source: 26/11/14, http://www.lespressesdureel.com/EN/ouvrage.php?id=3138&menu=

Sasha Waltz: a portrait

Video & DVD Collection
CHO58
Sasha Waltz is one of Europe’s best-known and most exciting choreographers. Her choreographies are outstanding as she always surprises with new formations, deep subjects and stunning aesthetic style. She does not only work with dancers: the dialogue with all other art forms is her special interest. Live music has become an important element in her work. With her production of “Dido & Aeneas” in 2005 she developed a new genre: the choreographic opera. Her spectrum is broad: Purcell, Berlioz and Stravinsky, contemporary classical music and opera have become her favourite working fields. She worked twice with French contemporary composer Pascal Dusapin in “Medea” and “Passion”, and with Japanese composer Toshio Hosokawa for “Matsukaze”. All these deep and beautifully choreographed pieces are featured in this film as Sasha Waltz gives us insight to her work. The film portrait by Brigitte Kramer draws a line from 2005 until today – the most important years of Sasha Waltz’ international career.

Source: 26/11/14, http://arthaus-musik.com/en/dvd/neuerscheinungen/media/details/sasha_waltz_a_portrait.html

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