|Publisher:||Macmillan Education UK|
|Product dimensions:||6.00(w) x 9.10(h) x 0.70(d)|
About the Author
Table of ContentsList of Illustrations and Figures.- List of Tables.- Notes on Contributors.- Foreword; M.Wallis.- Acknowledgements.- Introduction; J.Pitches.- PART I: BODY; Introduced and edited by A.Fenemore.- Any Body? The Multiple Bodies of the Performer; V.Ramirez Ladron De Guevera.- Some Body and No Body: The Body of a Performer; W.Houstoun.- Every Body: Performance's Other Bodies; A.Fenemore.- PART II: SPACE; Introduced and edited by S.Palmer.- Event-Space: Performance Space and Spatial Performativity; D.Hannah.- Scenographic Space and Place; L.A.Wilson.- Audience Space/Scenographic Space; S.Palmer.- PART III: TIME; Introduced and edited by T.Gardner.- Theatre, Technology and Time; S.Dixon.- Ghost Dance: Time and Duration in the Work of Lone Twin; G.Whelan.- The Lives and Times of Performance; T.Gardner.- PART IV: TECHNOLOGY; Introduced and edited by S.Popat.- Gaming and Performance: Narrative and Identity; J.Wood.- SwanQuake House 'Messing the System Up'; R.Gibson & B.Martelli.- Performance and Technology: The Myth of Disembodiment; S.Popat.- PART V: INTERACTIVITY; Introduced and edited by A.O'Grady.- Boalian Perspectives on Interactivity in Theatre; J.Somers.- Interactivity and the Work of Blast Theory; M.Adams.- Interactivity: Functions and Risks; A.O'Grady.- PART VI: ORGANISATION; Introduced and edited by C.Taylor.- Performance, Culture and Industry; R.Brown.- Organisational Agility and Improvisation; T.Greenstreet.- Performance, Organisation, Theory; C.Taylor.- Epilogue; J.Pitches.- Bibliography.
What People are Saying About This
As a tool to facilitate the orientation, critical grounding, analysis, and evaluation of performance work, this should be a set text for every theatre and performance course.' - New Theatre Quarterly
'This book is a guide and a map to key concepts that inspire the making and theorizing of performance. Re-imagining the borders that separate academics and practitioners, Performance Perspectives gives voice to multiple ways of thinking, observing, interconnecting, bridling, and creating.' - Lin Hixson, Professor and Chair, Performance Department, School of the Art Institute of Chicago, USA '
Pitches and Popat have constructed an invaluable resource for students and scholars of contemporary performance anywhere. Performance Perspectives provides new angles on the field and is ideally suited for use in the tertiary classroom.' - Edward Scheer, Associate Professor of Theatre Studies, University of New South Wales, Australia.