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      The Twentieth-Century Performance Reader
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      Book

      The Twentieth-Century Performance Reader

      DOI link for The Twentieth-Century Performance Reader

      The Twentieth-Century Performance Reader book

      The Twentieth-Century Performance Reader

      DOI link for The Twentieth-Century Performance Reader

      The Twentieth-Century Performance Reader book

      Edited ByTeresa Brayshaw, Noel Witts
      Edition 3rd Edition
      First Published 2013
      eBook Published 28 October 2013
      Pub. Location London
      Imprint Routledge
      DOI https://doi.org/10.4324/9780203125236
      Pages 544
      eBook ISBN 9780203125236
      Subjects Arts
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      Brayshaw, T., & Witts, N. (Eds.). (2013). The Twentieth-Century Performance Reader (3rd ed.). Routledge. https://doi.org/10.4324/9780203125236

      ABSTRACT

      The Twentieth-Century Performance Reader has been the key introductory text to all types of performance for over fifteen years. Extracts from over fifty practitioners, critics and theorists from the fields of dance, drama, music, theatre and live art form an essential sourcebook for students, researchers and practitioners.

      This carefully revised third edition offers focus on contributions from the world of music, and also privileges the voices of practitioners themselves ahead of more theoretical writing. A bestseller since its original publication in 1996, this new edition has been expanded to include contributions from:

      Bobby Baker; Joseph Beuys; Rustom Bharucha; Anne Teresa de Keersmaeker; Hanns Eisler; Karen Finley; Philip Glass; Guillermo Gómez-Peña; Matthew Goulish; Martha Graham; Wassily Kandinsky; Jacques Lecoq; Hans-Thies Lehmann; George Maciunas; Ariane Mnouchkine; Meredith Monk; Lloyd Newson; Carolee Schneemann; Gertrude Stein; Bill Viola.

      Each extract is fully supplemented by a contextual summary, a biography of the writer, and suggestions for further reading. The volume’s alphabetical structure invites the reader to compare and cross-reference major writings on all types of performance outside of the constraints and simplifications of genre, encouraging cross-disciplinary understandings.

      All who engage with live, innovative performance, and the interplay of radical ideas, will find this collection invaluable.

      TABLE OF CONTENTS

      chapter |8 pages

      Introduction: A Canon of Twentieth-Century Performance

      ByNoel Witts, Teresa Brayshaw

      chapter |12 pages

      Interview

      ByMarina Abramovic

      chapter |6 pages

      The Speed of Change

      ByLaurie Anderson

      chapter |4 pages

      Actor, Space, Light, Painting

      ByAdolphe Appia

      chapter |4 pages

      Theatre and Cruelty

      ByAntonin Artaud

      chapter |11 pages

      Diary Entries

      ByBobby Baker

      chapter |7 pages

      Words or Presence

      ByEugenio Barba

      chapter |8 pages

      Not how People Move but what Moves them

      ByPina Bausch

      chapter |3 pages

      Acting Exercises

      ByJulian Beck

      chapter |7 pages

      What is Epic Theater?

      ByWalter Benjamin

      chapter |5 pages

      Speech Upon Receiving an Honorary Doctorate Degree from the Nova Scotia College of Art and Design, Halifax 1976

      ByJoseph Beuys

      chapter |12 pages

      Notes on the Invention of Tradition

      ByRustom Bharucha

      chapter |13 pages

      The Theater as Discourse

      ByAugusto Boal

      chapter |12 pages

      Short Description of A New Technique of Acting which Produces an Alienation Effect

      ByBertolt Brecht

      chapter |6 pages

      The Deadly Theatre

      ByPeter Brook

      chapter |9 pages

      Trisha Brown: An Interview

      ByTrisha Brown

      chapter |11 pages

      Four Statements on the Dance

      ByJohn Cage

      chapter |5 pages

      Current Trends/The Director as Partly Actor

      ByJacques Copeau

      chapter |9 pages

      The Actor and the Über-Marionette

      ByEdward Gordon Craig

      chapter |4 pages

      You Have to Love Dancing to Stick to It

      ByMerce Cunningham

      chapter |7 pages

      Interview

      ByAnne Teresa de Keersmaeker

      chapter |6 pages

      The Dancer of the Future

      ByIsadora Duncan

      chapter |7 pages

      Some Remarks on the Situation of the Modern Composer

      ByHanns Eisler

      chapter |13 pages

      On Performance Writing

      ByTim Etchells

      chapter |4 pages

      Hello Mother/It's My Body (from A Certain Level of Denial)

      ByKaren Finley

      chapter |10 pages

      How to Write a Play (In Which I am Really Telling Myself how, but if You are the Right One I am Telling You how, too)

      ByRichard Foreman

      chapter |9 pages

      Notes on Einstein on The Beach

      ByPhilip Glass

      chapter |4 pages

      Performance Art from Futurism to the Present

      ByRoseLee Goldberg

      chapter |10 pages

      The Art of Camouflage (Performing in extremely unusual contexts)

      ByGuillermo Gómez-Peña

      chapter |10 pages

      The Creature from the Black Lagoon

      ByMatthew Goulish

      chapter |4 pages

      Graham 1937

      ByMartha Graham

      chapter |8 pages

      Statement of Principles

      ByJerzy Grotowski

      chapter |4 pages

      Man, Once Dead, Crawl Back!

      ByTatsumi Hijikata

      chapter |6 pages

      Of the Futility of the ‘Theatrical' in Theater

      ByAlfred Jarry

      chapter |7 pages

      On Stage Composition

      ByWassily Kandinsky

      chapter |11 pages

      The Theatre of Death: A Manifesto

      ByTadeusz Kantor

      chapter |11 pages

      Assemblages, Environments and Happenings

      ByAllan Kaprow

      chapter |8 pages

      Interview

      ByElizabeth LeCompte

      chapter |5 pages

      The Theatre of Gesture and Image

      ByJacques Lecoq

      chapter |15 pages

      Prologue to Postdramatic Theatre

      ByHans-Thies Lehmann

      chapter |10 pages

      Robert Lepage in Discussion

      ByRobert Lepage

      chapter |6 pages

      Expanded Fluxus Diagram

      ByGeorge Maciunas

      chapter |6 pages

      The Founding and Manifesto of Futurism

      ByF.T. Marinetti

      chapter |11 pages

      First Attempts at a Stylized Theatre

      ByVsevolod Meyerhold

      chapter |7 pages

      Building Up The Muscle of The Imagination (An interview with Ariane Mnouchkine by Josette Féral)

      ByAriane Mnouchkine

      chapter |4 pages

      Process Notes on Atlas, 1989

      ByMeredith Monk

      chapter |6 pages

      19 Answers by Heiner Müller

      ByHeiner Müller

      chapter |8 pages

      Conversation with Jo Butterworth

      ByLloyd Newson

      chapter |7 pages

      Epic Satire

      ByErwin Piscator

      chapter |8 pages

      A Quasi Survey of Some ‘Minimalist' Tendencies in the Quantitatively Minimal Dance Activity Midst the Plethora, or An Analysis of Trio A

      ByYvonne Rainer

      chapter |7 pages

      How Did Dada Begin?

      ByHans Richter

      chapter |17 pages

      The Five Avant-Gardes Or … Or None?

      ByRichard Schechner

      chapter |12 pages

      Man and Art Figure

      ByOskar Schlemmer

      chapter |5 pages

      Meat Joy

      ByCarolee Schneemann

      chapter |14 pages

      Theatre in African Traditional Cultures: Survival Patterns

      ByWole Soyinka

      chapter |6 pages

      Intonations and Pauses

      ByKonstantin Stanislavski

      chapter |9 pages

      Composition as Explanation

      ByGertrude Stein

      chapter |10 pages

      Interview with Nicholas Zurbrugg

      ByStelarc

      chapter |6 pages

      The Visionary Landscape of Perception

      ByBill Viola

      chapter |14 pages

      Interview

      ByRobert Wilson
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