Exercises for Rebel Artists: Radical Performance Pedagogy

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Overview

In Exercises for Rebel Artists, Guillermo Gomez-Pena and Roberto Sifuentes use their extensive teaching and performance experience with La Pocha Nostra to help students and practitioners to create ‘border art’.

Designed to take readers right into the heart of radical performance, the authors use a series of crucial practical exercises, honed in workshops worldwide, to help create challenging theatre which transcends the boundaries of nation, gender, and racial identity.

The book features:

  • Detailed exercises for using Pocha Nostra methods in workshops
  • Inspirational approaches for anyone creating, producing or teaching radical performance
  • A step-by-step guide for large-scale group performance
  • New, unpublished photos of the Pocha Nostra method in practice

Exercises for Rebel Artists advocates teaching as an important form of activism and as an extension of the performance aesthetic. It is an essential text for anyone who wants to learn how use performance to both challenge and change.

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Product Details

  • ISBN-13: 9780415549226
  • Publisher: Taylor & Francis
  • Publication date: 8/19/2011
  • Pages: 256
  • Product dimensions: 6.40 (w) x 9.40 (h) x 0.80 (d)

Meet the Author

Guillermo Gómez-Peña is a post-Mexican performance artist, writer, activist and pedagogue. He is the author of ten books including Ethno Techno and Dangerous Border Crossers, both published by Routledge. His legendary performance pieces include "Border Brujo" (1988), "Couple in the Cage" (1992), "The Cruci-fiction project" (1994), "El Mexterminator" (1987-88) and the Mapa/Corpo series (2004–2008). He is founder of the San Francisco-based art collective La Pocha Nostra.

Roberto Sifuentes is an interdisciplinary artist and founding member of La Pocha Nostra. He has toured internationally with Gómez-Peña since 1991. As a performance pedagogue, Sifuentes has been Artistic Director of The Trinity College/La MaMa Performing Arts ProgramNYC and is currently Assistant Professor of Performance at the School of the Art Institute of Chicago.

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Table of Contents

Intro by Guillermo Gómez-Peña

Aims and Objectives

Preparing a Performance Workshop

Notes to the Workshop Participants

The Workshop

Performance Exercises, Rituals and Games To Cross Borders

Part One: ‘Hands On’, Physical and Perceptual Exercises

Part Two: Conceptual and Poetic Exercises

Part Three: Living Images and Exercises to Generate Performance Material

Part Four: Designing and Fleshing Out Performance Personas

Part Five: Preparing a Performance Salon

The Syllabus

Quick and Dirty Exercises

In Permanent Process Of Reinvention: A Pedagogical Travelogue

Tips for Young Live Artists

Letter from Oaxaca

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