The Twentieth century performance reader
Author(s)
Bibliographic Information
The Twentieth century performance reader
Routledge, 1996
- : pbk
Available at / 15 libraries
-
Kobe Shoin Women's University Library / Kobe Shoin Women's College Library
: pbk770H059398*,
1064715 -
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Note
Includes bibliographical references (p. 401-405) and index
Description and Table of Contents
- Volume
-
ISBN 9780415116275
Description
The Twentieth-Century Performance Reader provides a pioneering introduction to all types of performance (dance, drama, music, theatre and live art) through the writings of forty-two practitioners, critics and theorists which together reaffirm performance as a discipline in its own terms.
Organised alphabetically, rather than chronologically or according to art form, this reader invited cross-disciplinary comparisons. Each piece is fully supplemented by a contextual summary, detailed cross-references and suggestions for further reading. The editors' introductory essay provides an invaluable analysis of the field, and the definitive bibliography offers an essential reference source.
The reader, which makes it possible to compare major writings on all types of performance in one volume, will be an essential sourcebook for researchers, practitioners and students. It will also be of interest to anyone who enjoys innovative live performance.
Table of Contents
1. Laurie Anderson, The Speed of Change 2. Adolph Appia, Actor, Space, Light, Painting 3. Antonin Artaud, Theatre and Cruelty 4. Sally Banes, Terpsichore in Sneakers: Post-modern Dance 5. Eugenio Barba, Words or Presence 6. Roland Barthes, The Grain of the Voice 7. Pina Bausch, Not how people move but what moves them 8. Julian Beck, Acting exercises 9. Walter Benjamin, What is Epic Theater? 10. Rustom Bharucha, Notes on the invention of tradition 11. Augusto Boal, The theatre as discourse 12. Bertrolt Brecht, Short description of a new technique of acting which produces an alienation effect 13. Peter Brook, The Deadly Theatre 14. Trisha Brown, Trisha Brown: An interview 15. John Cage, Four statements on the dance 16. Edward Gordon Craig, The Actor and the Uber-Marionette 17. Merce Cunningham, You have to love dancing to stick to it 18. Isadora Duncan, The Dancer of the future 19. Hanns Eisler, Some remarks on the situation of the modern composer 20. Philip Glass, Notes on Einstein on the beach 21. Roselee Goldberg, Performance Art from Futurism to the present 22. Jerzy Grotowski, Statement of principles 23. Tatsumi Hijikata, Man, once dead, crawl back!, 24. Doris Humphrey, 'Check list', from The Art of Making Dances 25. Alfred Jarry, Of the futility of the 'Theatrical' in Theater 26. Tadeusz Kantor, The Theatre of Death: A Manifesto 27. Elizabeth LeCompte, Interview 28. Robert Lepage, Robert Lepage in discussion with Richard Eyre 29. F.T. Marinetti, The founding and manifesto of futurism 30. John Martin, Characteristics of the modern dance 31. Vsevolod Meyerhold, First attempts at a stylized theatre 32. Heiner Muller, 19 Answers by Heiner Muller 33. Erwin Psicator, Epic Satire 34. Yvonne Rainer, A quasi survey of some 'minimalist' tendencies in the quantitatively minimal dance activity midst the plethora, or an analysis of trio A 35. Hans Richter, How did Dada begi? 36. Richard Schechner, The five avant gardes or ... or none? 37. Oskar Schlemmer, Man and art figure 38. Wole Soyinka, Theatre in African Traditional Cultures: Survival Patterns 39. Konstantin Stanislavski, Intonations and pauses 40. Mary Wigman, The philosophy of modern dance 41. Raymond Williams, Argument: Text and Performance 42. Robert Wilson, Interview Chronology of Texts. Bibliography of Twentieth-Century Performance. Index
- Volume
-
: pbk ISBN 9780415116282
Description
The Twentieth-Century Performance Reader provides a pioneering introduction to all types of performance (dance, drama, music, theatre and live art) through the writings of forty-two practitioners, critics and theorists which together reaffirm performance as a discipline in its own terms.
Organised alphabetically, rather than chronologically or according to art form, this reader invited cross-disciplinary comparisons. Each piece is fully supplemented by a contextual summary, detailed cross-references and suggestions for further reading. The editors' introductory essay provides an invaluable analysis of the field, and the definitive bibliography offers an essential reference source.
The reader, which makes it possible to compare major writings on all types of performance in one volume, will be an essential sourcebook for researchers, practitioners and students. It will also be of interest to anyone who enjoys innovative live performance.
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