Twentieth Century Performance Reader / Edition 2

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Overview

The Twentieth Century Performance Reader is the key introductory text to all types of performance. Extracts from fifty practitioners, critics and theorists from the fields of dance, drama, music, theatre and live art make up an essential sourcebook for students, researchers and practitioners.
A bestseller since its publication in 1996, this second edition has been fully updated and includes:

• New writings by practitioners and theorists

• Notes about each writer

• A completely new introduction.
Each extract is fully supplemented by a contextual summary, a biography of the writer, and suggestions for further reading. Organised alphabetically, this reader makes it possible to compare major writings on all types of performance in one volume. The ways in which different performance practitioners' ideas inter-relate are pointed out in a series of detailed cross-references for readers. In so doing it becomes clear that one of the key features of twenty first century performance is its boundlessness and its capacity to cross borders.
All who enjoy or work with live innovative performance will find this book invaluable.

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Product Details

  • ISBN-13: 9780415252874
  • Publisher: Taylor & Francis
  • Publication date: 4/1/2002
  • Edition description: REV
  • Edition number: 2
  • Pages: 488
  • Product dimensions: 6.80 (w) x 9.60 (h) x 1.20 (d)

Meet the Author

Michael Huxley is head of performing arts at De Montfort University, Leicester, and author of articles and reviews on dance and dance theatre. He is actively engaged in promoting the performing arts within higher education at degree level.
Noel Witts is head of postgraduate theatre studies at Hull University's Scarborough Campus, and also teaches postgraduate scenography at the London Institute, where he is visiting research fellow. He is the author of ten major documentaries on aspects of European theatre and has written arts programmes fore the Open University.

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Table of Contents

Preface
Acknowledgements
Twentieth-Century Performance: The Case for a New Approach 1
1 The Speed of Change 15
2 Actor, Space, Light, Painting 21
3 Theatre and Cruelty 25
4 Terpsichore in Sneakers: Post-Modern Dance 30
5 Words or Presence 36
6 The Grain of the Voice 44
7 Not How People Move but What Moves Them 53
8 Acting Exercises 61
9 What is Epic Theater? 64
10 Notes on the Invention of Tradition 72
11 The Theatre as Discourse 85
12 Short Description of a New Technique of Acting which Produces an Alienation Effect 99
13 The Deadly Theatre 112
14 Trisha Brown: an Interview 119
15 Four Statements on the Dance 129
16 The Actor and the Uber-Marionette 142
17 You have to Love Dancing to Stick to it 152
18 The Dancer of the Future 157
19 Some Remarks on the Situation of the Modern Composer 164
20 Notes on Einstein on the Beach 172
21 Performance Art from Futurism to the Present 182
22 Statement of Principles 187
23 Man, Once Dead, Crawl Back! 195
24 'Check List', from the Art of Making Dances 199
25 Of the Futility of the 'Theatrical' in Theater 209
26 The Theater of Death: a Manifesto 216
27 Interview 228
28 Robert Lepage in Discussion with Richard Eyre 237
29 The Founding and Manifesto of Futurism 248
30 Characteristics of the Modern Dance 255
31 First Attempts at a Stylized Theatre 264
32 19 Answers by Heiner Muller 276
33 Epic Satire 283
34 A Quasi Survey of Some 'Minimalist' Tendencies in the Quantitatively Minimal Dance Activity Midst the Plethora, or an Analysis of Trio A 290
35 How did Dada Begin? 300
36 The Five Avant Gardes or . . . or None? 308
37 Man and Art Figure 327
38 Theatre in African Traditional Cultures: Survival Patterns 341
39 Intonations and Pauses 357
40 The Philosophy of Modern Dance 364
41 Argument: Text and Performance 369
42 Interview 384
A Chronology of Texts 399
A Bibliography of Twentieth-Century Performance 401
Index 406
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