A Palestinian actor learns there’s more to English girls than pure sex appeal. A Pakistani-born terror suspect figures out what’s wrong with his first novel. A British youth suspects all is not what it seems with his object of desire. A New Yorker asks his girlfriend for a sexual favour at the worst possible time. This is the comic tale of four men from different parts of the globe experiencing a moment of revelation.
You can experience God’s presence and healing power through dance.
Encountering God Through Dance equips believers to worship Jesus in wholehearted devotion—to express love without fear or shame.
What people are saying:
Encountering God Through Dance is the wonderful journey of a radical lover of God…and a manual for instruction and inspiration. —Bill Johnson, Senior Pastor, Bethel Church
This is by far the most refreshing book I have read in a long time. Saara Taina has given her life to a core area of life that is far too marginalized in many churches. —Marc A. Dupont, Mantle of Praise Ministries, Inc.
Rarely do you see a book that offers passion, testimonies, and biblical expertise so that others can be fully equipped. —Theresa Dedmon, Director of Prophetic Arts, Bethel Church
We have personally experienced the breakthrough power of the dance many, many times in Succat Hallel, our 24/7 worship room that overlooks Mount Zion in Jerusalem. —Rick and Patti Ridings, Succat Hallel
The author’s personal journey of devotion through dance has taken her worldwide. She wraps her exciting travels with a solid biblical framework for the importance of dance in the Kingdom of God—on earth, today!
'Look - they're fading. Those liars. Dissolving . . . It's the end of their world . . . The birth of a new one . . . Our one . . . Our world.'
It's Mother's Day and mother is dead. Now her two sons gather in her home to argue about the truth of their childhood. But a storm is approaching . . . with a violent new truth all of its own.
This programme playtext is published to tie in with the premiere at Soho Theatre, London, on 15 May 2008.
Praise for Leaves of Glass: 'Like a shard of glass plunged straight to the heart . . . superb.' Guardian
DETROIT '67 is presented in association with Classical Theatre of Harlem and the National Black Theatre.
In a series of tragicomic episodes vividly brought to life with music, dance and animation, we journey through this personal and political tale of occupation and resistance, fear and heroism, a life of self-pursuit and loyalty that transports us to the heart of the hardships, struggles and contradictions of a young man growing up under occupation and his pursuit for the true meaning of freedom.
'You believe him cos he wraps all the painful stuff in feathers and flowers. Makes it all safe and cosy. You can't feel the broken glass inside.'
Leaves of Glass is a rich, complex play about two brothers and the hold that the past and memory has on them. Haunted by the death of his father and a car accident involving a young child, Steve finds his life unraveling and his pregnant wife unable to comprehend his pain and sense of loss.
Known for his dark disturbing dramas, Ridley's latest play is a deeply human drama that shifts between elegy for the past and a chilling exploration of the power of loss and grief.
To win a role in a movie or on network or cable TV, you must make a strong first impression in your brief, crucial audition—and the first person you have to impress is the casting director.
Through its four-part structure, the volume introduces readers to important writings by international practitioners and scholars on:
* the contemporary context for documenting performance
* processes of documenting performance
* documenting bodies in motion
* documenting to create
In each, chapters examine the ways performance is documented and the issues arising out of the process of documenting performance. While theorists have argued that performance becomes something else whenever it is documented, the writings reveal how the documents themselves cannot be regarded simply as incomplete remains from live events. The methods for preserving and managing them over time, ensuring easy access of such materials in systematic archives and collections, requires professional attention in its own right. Through the process of documenting performance, artists acquire a different perspective on their own work, audiences can recall specific images and sounds for works they have witnessed in person, and others who did not see the original work can trace the memories of particular events, or use them to gain an understanding of something that would otherwise remain unknown to them and their peers.
In Killing Poetry, renowned slam poet, Javon Johnson unpacks some of the complicated issues that comprise performance poetry spaces. He argues that the truly radical potential in slam and spoken word communities lies not just in proving literary worth, speaking back to power, or even in altering power structures, but instead in imagining and working towards altogether different social relationships. His illuminating ethnography provides a critical history of the slam, contextualizes contemporary black poets in larger black literary traditions, and does away with the notion that poetry slams are inherently radically democratic and utopic.
Killing Poetry—at times autobiographical, poetic, and journalistic—analyzes the masculine posturing in the Southern California community in particular, the sexual assault in the national community, and the ways in which related social media inadvertently replicate many of the same white supremacist, patriarchal, and mainstream logics so many spoken word poets seem to be working against. Throughout, Johnson examines the promises and problems within slam and spoken word, while illustrating how community is made and remade in hopes of eventually creating the radical spaces so many of these poets strive to achieve.
Welcome to the 21st century where women travel across the world in search of sex, love, and liberation but the reality is that hard cash equals hard men. Toned torsos and slick sweet talk meets orange peel beneath the coconut trees in an exchange that leaves everyone short-changed.
Sugar Mummies is a funny, provocative and revealing study of the pleasures and pitfulls of female sex tourism.
It was a huge success at the Royal Court Theatre in August 2006, and proceeded to tour throughout the UK.
In a strange room in East London the party preparations are under way. Everything has been planned to the last detail. Surely nothing can go wrong? After all, there's the specially made birthday cake, the specially written cards, the specially chosen guest of honour... and a very, very sharp knife.
Philip Ridley's edgy and provocative drama caused a sensation when it premiered at Hampstead Theatre in 1992, winning the Evening Standard Award for Most Promising Newcomer to the Stage and the Meyer Whitworth Prize. It is now regarded as a contemporary classic.
'A bit like a ride on a ghost train... you find yourself shuddering with shock and laughing uproariously... horror has rarely been so much fun' Daily Telegraph
'Scorchingly nasty... fingers an age and its icons with terrifying accuracy' Guardian
Meet the greatest entertainer of the 19th Century...
In 1834, desperate to create a better life for his family, small-time Connecticut businessman P. T. Barnum moved to New York City. With true entrepreneurial spirit and against all odds, he wowed audiences with his ensemble of musical spectacles, attractions and variety shows – often exploiting the vulnerable for entertainment value. A master showman, his crowning achievement was the world-famous circus, Barnum & Bailey’s Greatest Show on Earth.
In this account of his life and work, written by the man himself and first published in 1855, P. T. Barnum creates an aura of excitement about himself and his enduring fame, confirming his reputation as the greatest impresario of all time and revealing the controversial decisions that helped him to his fortune.
Naomi Wallace's award-winning plays, which include One Flea Spare and The Fever Chart, are produced in the United States and around the world. Wallace is a recipient of an Obie Award, the MacArthur Fellowship, and the inaugural Windham Campbell prize for drama in 2013.
Ismail Khalidi is a playwright and poet. His plays include Tennis in Nablus, Truth Serum Blues, and Sabra Falling.
His response was “Domestic Tension,” an unsettling interactive performance piece: for one month, Bilal lived alone in a prison cell-sized room in the line of fire of a remote-controlled paintball gun and a camera that connected him to Internet viewers around the world. Visitors to the gallery and a virtual audience that grew by the thousands could shoot at him twenty-four hours a day. The project received overwhelming worldwide attention and spawned provocative online debates; ultimately, Bilal was named Chicago Tribune’s Artist of the Year.
Structured in two parallel narratives, the story of Bilal’s life journey and his “Domestic Tension” experience, Shoot an Iraqi is for anyone who seeks insight into the current conflict in Iraq and for those fascinated by interactive art technologies and the ever-expanding world of online gaming.
"Once I picked up this book, i could not put it down. There is something so urgent and compelling about Bilal's story, as though he is speaking to our time. His story is not just for those interested in the arts; it is a human story of the horror, frustration, and tragedies of war." —Mary Flanagan, artist and author of re:skin
"This is an unsettling and gripping book. It poignantly recounts a dark and imaginative experiment inspired by an excruciating and ghastly reality. Its unsettling effects couldn't be more welcome: we desperately need to be shocked out of our collective zombification, and this book does that by leading us through a wild labyrinth at once aesthetic, political, and existential. Potent stuff." —Danny Postel, author of Reading "Legitimation Crisis" in Tehran
"Who in their right mind would allow the internet to shoot at them? Shoot an Iraqi: Art, Life, and the Resistance Under the Gun tells the story of Wafaa Bilal. When his brother was killed by an unmanned Military device during the Iraq war, Bilal took it locked himself in a room, a camera showing him to the world with a remote controlled paintball gun connected to the internet, in the name of art and political statement. Bilal explains himself quite well, making Shoot an Iraqi fascinating reading." —Midwest Book Review
"Weaving together accounts of Iraq and America, art and violence, performance and reality, past and present, this gripping account all but shakes the reader by the lapels." —Publishers Weekly
Iraqi-born artist Wafaa Bilal has exhibited his art worldwide, and traveled and lectured extensively to inform audiences of the situation of the Iraqi people, and the importance of peaceful conflict resolution. Bilal's 2007 dynamic installation "Domestic Tension" gained global recognition, being named Artist of the Year by the Chicago Tribune. Bilal has held exhibitions in Baghdad, the Netherlands, Thailand and Croatia; as well as at the Museum of Contemporary Photography in Chicago, the Milwaukee Art Museum and various other US galleries. His residencies have included Montalvo Arts Center in Saratoga, California; Catwalk in New New York; and Rensselaer Polytechnic Institute.
In the electric calm of a blue-painted room, a dying woman reassembles the images of an extraordinary life. The woman is Mexican painter Frida Kahlo. The life is one of struggle - with love, with the body, with her country, and most of all, with her art.
La Casa Azul is a collaboration between Quebeçois playwright Sophie Faucher, who also played Frida Kahlo in this production, and internationally acclaimed director Robert Lepage.
In what is undoubtedly the most original magic book of our time, John Fisher shows the reader how, with minimal practice, he can use the marvels of the human body to entertain and mystify friends and family, small and large audiences.
This book is first of all a delight to read because of the instant education it provides us with about the unknown powers we have in our hands, our eyes, our noses, and our incredible nervous system. In each case, Mr. Fisher shows the easy-to-grasp principle first and then how to put the principle to work in actual tricks.
Most magic books require a great deal of study and dexterity. This one enables you to entertain people even before you have finished the book. Moreover, you never have to worry about being prepared, because you always have with you all the miraculous things you need—your hands, your eyes, and the rest of your body.
Four people, the sole survivors of a shipwreck, crawl out of the sea. Two of them are masters, and two of them are servants; and all four are about to discover what life feels like when the boot is on the other foot.
Marivaux's potent mix of laughter, emotion and theatrical game-playing makes him one of the most surprising and most modern of all classic playwrights. Neil Bartlett has adapted this brilliant comedy of role-swapping and redemption, which premiered at the Lyric Hammersmith in April 2002.
London, 2012. Women will step into the Olympic boxing ring for the very first time. And it's in Stratford. Down the road. As Chloe trains for the fight of her life, she is left winded by two life-changing events. In a man's world, can she prove she's still worth the title?
Fighting fit from sell-out shows at the Edinburgh Fringe Festival as part of the Old Vic New Voices Edinburgh Season, you are invited ringside, for an adrenaline-fuelled, no-holes-barred one-woman show unafraid to document the blood, the sweat...and all the tears.
Comedy is changing: stand-up comedians routinely sell out stadia, their audience-figures swollen by panel-show appearances and much-followed Twitter feeds. Meanwhile, the smaller clubs are filling up, with audiences as well as aspirants. How can we make sense of it all? This new edition of Getting the Joke gives an insider's look at the spectrum of modern comedy, re-examining the world of stand-up in the internet age.
Drawing on his acclaimed first edition, Oliver Double focuses in greater detail on the US scene and its comedians (such as David Cross, Sarah Silverman, Louis CK, Demetri Martin and Margaret Cho); the 'DIY' comedy circuit and its celebrated apostles and visionaries, from Josie Long to Stewart Lee; the growing importance of the solo stand-up show; the role played by Twitter (including an interview with the organiser of the world's first comedy gig on Twitter), and the driving force that is the TV guest slot, be it on Mock the Week or Live at the Apollo.
With expanded sections on joke construction, as well as ways to challenge the audience, and a host of new and updated exercises to guide the aspiring comedian, this new edition of Getting the Joke is the only book to combine the history of stand-up comedy with an analysis of the elements and methods that go into its creation. Featuring a range of interviews with working comedians – from circuit veterans to new kids on the block – combined with the author's vast experience, this is a must read for any aspiring stand-up comedian.
Book of Sides: Original, Short Scenes for Actors and Directorsoffers scenes that are considerably shorter than those in similar books but still feature the structure of typical scenes with arcs, clear playable objectives, and stakes for both actors. Here you will find scenes that are:
One-page in length and specially designed for new, high-intensity exercises that help students develop quickly
Printed in an easily readable, film-script format that provides plenty of room for annotations
Completely original, allowing you to produce and distribute reinterpretations without worrying about copyright restrictions
Universally castable, with roles that can be assigned to actors regardless of gender, appearance, skill level, or race
Simple and conducive to performing in the classroom without props, costumes, or sets
Perfect for audition workshops and crowded directing or acting classes where everyone wants an opportunity to perform
Written in accessible, contemporary language that keeps student actors engaged
Don’t miss out! In Book of Sides, Dave Kost brings two decades of teaching experience to the table to deliver the ideal set of scenes for busy classroom settings, auditions, and general training.
From its opening image of little Pip, alone on the windswept marshes, to the haunted darkness of mad Miss Haversham's cobweb-strewn lair, this brand-new adaptation especially commissioned by Aberystwyth Arts Centre takes its audience on a journey right to the heart of Dickens’ great exploration of childhood terrors and hopes - and of adult dreams and regrets.
"Imagine if you took a giant hatpin and stuck it into Sylvester Stallone’s Rocky. Once all the hot air had leaked out of that melodrama about a working-class underdog who wins fame, fortune and love in the boxing ring, you might find something very much like Richard Maxwell’s Boxing 2000. By taking a conventional formula and draining it of all its humid sentimentality and synthetic adrenaline, Mr. Maxwell discovers something new and unexpected. Boxing 2000 is a real knockout: a play that not only challenges theatrical clichés, but your ideas about theatre itself."—Wall Street Journal
""It’s a sensation that’s felt all too rarely these days. Watching Mr. Maxwell’s work makes you think of what it must have been like to stumble upon the baffling but seductive creations of a young Sam Shepard in the early 1960’s in the East Village."—, New York Times
This first volume collects nine of Maxwell’s early works: Boxing 2000, Caveman, House (1999 OBIE Award winner), Showy Lady Slipper and others.
Richard Maxwell is a writer, director and songwriter. He began his acting career with the Steppenwolf Theatre Company in Chicago, where he helped found the Cook County Theater Department, which challenged the principles of traditional acting training. He is artistic director of New York City Players. His plays have been performed in the U.S. at Soho Rep, The Kitchen, P.S. 122, HERE, the Williamstown Theater Festival, Walker Arts Center and the Wexner Center for the Arts; and in Paris, Berlin, Dublin, Brussels, Amsterdam and Vienna.
shades, a car, a magazine, or just about anything...who's smiling back
at you? MODELS!
Models come in all shapes and sizes, and there
are models for just about every occasion and every product. If you have
the passion of wanting to become a model, then this book is a MUST
READ. This book is not full of fluff or repetitive information like
many how to and tip books are. This book is an updated compilation of
the most helpful and best tips out there for anyone wanting to get into
the modeling industry. It truly is a must read if you would like to
become a model.
What the book covers:
1. Model Glossary
2. Can you model?
3. Types of Modeling
Tips on Posing
5. Work With Your Flaws
6. Types of Photo Shoots
7. The Top Modeling Tips
8. Breaking Into the Biz
9. Modeling Classes
10. Modeling Schools
12. Your Portfolio
13. Model Scouts
14. Modeling Scams
16. Our Model Poses iPhone App!
extremely important for new models to research and learn as much as
they can, and this book will get you off to the best possible start!
“An extraordinary play…a deeply felt, expansively ruminative drama.” –Paul Taylor, Independent (London)
“What a feast of a play. No playwright in the English language has a greater passion for language than Kushner. And to this Kushner adds that rare quality in American theater, a yearning to go beyond domestic stories and into the great world of political struggle. Brilliant. It keeps us thinking.” –Richard Christiansen, Chicago Tribune
“This eerily timely work about Afghanistan is comparably mesmerizing and mournful, vast and intimate, emotionally generous and stylistically fabulist, wildly verbal, politically progressive and scarily well informed.” –Linda Winer, Newsday
In Homebody/Kabul, Pulitzer Prize-winning playwright Tony Kushner, author of Angels in America, has turned his penetrating gaze to the arena of global politics to create this suspenseful portrait of a dangerous collision between cultures. Written before 9/11, Homebody/Kabul premiered in New York in December 2001 and has had highly successful productions in London, Providence, Seattle, Chicago and Los Angeles. This version incorporates all the playwright's changes and is now the definitive version of the text.
Tony Kushner’s plays include Angels in America; Hydriotaphia, or the Death of Dr. Brown; The Illusion, adapted from the play by Pierre Corneille; Slavs!; A Bright Room Called Day; Homebody/Kabul; Caroline, or Change, a musical with composer Jeanine Tesori; and The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures. He wrote the screenplays for Mike Nichols’s film of Angels in America and for Steven Spielberg’s Munich and Lincoln. His books include The Art of Maurice Sendak: 1980 to the Present; Brundibar, with illustrations by Maurice Sendak; and Wrestling with Zion: Progressive Jewish-American Responses to the Israeli-Palestinian Conflict, co-edited with Alisa Solomon.
Among many honors, Kushner is the recipient of a Pulitzer Prize, two Tony Awards, three Obie Awards, two Evening Standard Awards, an Olivier Award, an Emmy Award, two Oscar nominations, and the Steinberg Distinguished Playwright Award. He is a member of the American Academy of Arts and Letters. In 2012, he was awarded a National Medal of Arts by President Barack Obama. He lives in Manhattan with his husband, Mark Harris.
"Pleading in the Blood offers a remarkable and enduring contribution to literatures on performance and contemporary art. . . . The potency of myth in Ron Athey’s work is the problem tackled by this formidable new book.” --Contemporary Theatre Review
Creating Solo Performanceis an innovative toolbox of exercises and challenges focused on providing you – the performer – with engaging and inspiring ways to explore and develop your idea both on the page and in the performance space.
The creation of a solo show may be the most rewarding, liberating and stressful challenge you will take on in your career. This book acts as your silent collaborator as you develop your performance, by helpfully arranging exercises under the following headings:
Using your performance space
Exercises can be explored in sequence, at random or according to your specific needs and interests as a performer. By enabling you to create a bespoke formula that best applies to your specific subject, area of interest, style and discipline, this book will become an indispensable resource as you produce your solo show.
Naomi Wallace, the rare writer who combines lyrical theatricality with political ferocity, turns her sight to the Middle East, with a new triptych for the stage. Vision One, A State of Innocence, is set—as the playwright describes, in “something like a small zoo, but more silent, empty, in Rafah, Palestine. Or a space that once dreamed it was a zoo”—and features a Palestinian woman, an Israeli architect, and an Israeli soldier. Vision Two, The Retreating World, is of an Iraqi bird keeper from Baghdad and his address before the International Pigeon Convention. Vision Three, Between this Breath and You, takes place after hours in the waiting room of a clinic in West Jerusalem, where a Palestinian father confronts the nurse’s aide, a young Israeli woman, about the meaning of the loss of his son and the impact it had on her life. These multifaceted works explore the urgency and complexity of the Middle East’s political landscape, through the voices and bodies of the people who inhabit it.
Naomi Wallace is a poet and playwright from Kentucky, who currently resides in England. Her numerous awards include the MacArthur “Genius” Fellowship. Her plays, including One Flea Spare, In the Heart of America, and Trestle at Pope Lick Creek, are produced throughout the United States and around the world.
A dazzling blend of preposterous characters and familiar situations, Nabokov called The Government Inspector the greatest play in the Russian language. A production of this version of the play opened at the Chichester Festival in June 2005 starring the comedian Alistair McGowan.
The central argument of the text is that through an embodied and materialist approach to religion, developed in the work of Michel Foucault and religious studies scholar Manuel Vasquez, as well as a critical reading of the concepts of the New Age, a new understanding of Grotowski and religion can be developed. It is possible to show how Grotowski’s work articulated spiritual experience within the body; achieving a removal of spirituality from ecclesial authorities and relocating spiritual experience within the body of the performer.
This is a unique analysis of one of the 20th Century’s most famous theatrical figures. As such, it is a vital reference for academics in both Religion and Theatre Studies that have an interest in the spiritual aspects of Grotowski’s work.
Based on extensive archival and ethnographic research, the study argues for the central role of performance in how Korean survivors, activists, and artists have redressed the histories—and erasures—of this sexual violence. Merging cultural studies and performance theory with a transnational, feminist analysis, the book illuminates the actions of ordinary people, thus offering ways of reconceptualizing legal and political understandings of redress that tend to concentrate on institutionalized forms of state-based remediation.
Bram Stoker’s Dracula adapted by Bryony Lavery
This is the modern world. Its inhabitants can go anywhere, even to
Transylvania. They can communicate globally in the blink of an eye. But
their feet, in their modern shoes, walk upon the gravestones of a vast
cosmic graveyard. Count Dracula is still alive. He could always come
through walls, arrive on a moonbeam but, in the modern world, he has
emails, smartphones, webcams and the worldwide web...
Mary Shelley’s Frankenstein adapted by Lisa Evans
Mary is imprisoned in a present-day psychiatric hospital, convicted of
murdering her baby daughter. During her incarceration she becomes
obsessed with Mary Shelley’s famous novel. The novel comes to life
within her imagination, and we are left to question just who the real
monster really is, Mary or Frankenstein himself...
An audacious and anarchic comedy from a writer who knows first-hand what it feels like to be caught in a war-zone.
In Motion and Representation, Nicolás Salazar Sutil considers the representation of human motion through languages of movement and technological mediation. He argues that technology transforms the representation of movement and that representation in turn transforms the way we move and what we understand to be movement. Humans communicate through movement, physically and mentally. To record and capture integrated movement (both bodily and mental), by means of formal language and technological media, produces a material record and cultural expression of our evolving kinetic minds and identities.
Salazar Sutil considers three forms of movement inscription: a written record (notation), a visual record (animation), and a computational record (motion capture). He focuses on what he calls kinetic formalism—formalized movement in such pursuits as dance, sports, live animation, and kinetic art, as well as abstract definitions of movement in mathematics and computer science. He explores the representation of kinetic space and spatiotemporality; the representation of mental plans of movement; movement notation, including stave notation (Labanotation) and such contemporary forms of notation as Choreographic Language Agent; and the impact of digital technology on contemporary representations of movement—in particular motion capture technology and Internet transfer protocols.
Motion and Representation offers a unique cultural theory of movement and of the ever-changing ways of representing movement.
How militarization appropriates and deploys performance techniques
How performing arts practices can confront militarization
The long and complex history of militarization
How the war on terror has transformed into a values system that prioritizes the military
The ways in which performance can be used to secure and maintain power across social strata
Performance in a Militarized Culturedraws on performances from North, Central, and South America; Europe; the Middle East; and Asia to chronicle a range of experience: from those who live under a daily threat of terrorism, to others who live with a distant, imagined fear of such danger.
At first glance this is a simple tale of two generations locked in battle, Mrs Reynolds standing up for traditional values with her "nice little house, nice little garden and nice little life" vs. Jay, the textbook chain-smoking hoodie prowling the urban jungle demanding respect but offering little in return. But there is more to these characters than the other suspects. Just as they think they have the measure of each other, something is revealed and they are shocked by what they find out.
Mrs Reynolds and the Ruffian explores human nature and friendship alongside the social climate of modern Britain giving a warm, funny and wise glimpse into the way we live now.
Gavin Adams, Mariola V. Alvarez, Gustavo Buntinx, María Fernanda Cartagena, David Gutiérrez Castañeda, Fabian Cereijido, Paloma Checa-Gismero, Kency Cornejo, Raquel de Anda, Bill Kelley Jr., Grant H. Kester, Suzanne Lacy, Ana Longoni, Rodrigo Martí, Elize Mazadiego, Annie Mendoza, Alberto Muenala, Prerana Reddy, Maria Reyes Franco, Pilar Riaño-Alcalá, Juan Carlos Rodríguez
O'Dell argues that the growth of masochistic performance during the 1970s must be seen in the context of society's response to the Vietnam War and contemporaneous changes in theories of contract. She contends that the dynamic that exists between audience and performer during these masochistic acts relates to tensions resulting from ruptures in the social contract. Indeed, as the war in Vietnam waned, so did masochistic performance, only to reemerge in the 1980s in relation to the "war on AIDS" and the censorious "culture wars".
Focusing on 1970s performance artists Vito Acconci, Chris Burden, Gina Pane, and collaborators Marina Abramovic/Ulay as well as those with similar sensibilities from the late 1980s onward -- Bob Flanagan, David Wojnarowicz, Simon Leung, Catherine Opie, Ron Athey, Lutz Bacher, and Robby Garfinkel -- O'Dell provides photographic documentation of performances and quotations from interviews with many of the artists. Throughout, O'Dell asks what we can do about the institutionalized forms of masochism for which these performances are metaphors.
Contract with the Skin is a provocative guide to thislittle-studied area, and offers new ways of thinking about performance art and artistic production.
The works featured include: Hotel Methuselah, Imitating the Dog/Pete Brooks; Don Juan.Who?/Don Juan.Kdo?, Athletes of the Heart; A Girl Skipping, Graeme Miller; Trans-Acts, Julia Bardsley; US, 1966 (with an introduction by Peter Brook); Miss America, Split Britches and 48 Minutes for Palestine, Mojisola Adebayo and Ashtar Theatre.
The notion of writing for interdisciplinary collaboration is at the core of the selected plays which makes this a very unique collection and the extensive Introduction and notes make this an invaluable resource for any student of theatre and performance.
Dennis Kelly's new play is a thrilling contemporary suspense story which takes its audience on a chilling journey into a world just outside the front door. This disturbing urban drama has it's world premiere at the Traverse Theatre on 31st July 2009, reuniting the team that brought Kelly's play After The End to the Traverse Theatre in 2005. After a month's run at the Traverse, it transfers to Birmingham Rep and the Soho Theatre (London).
In a Palestinian town eleven-year-old Lubna and twelve-year-old Khalil are playing on the empty stairwell in their apartment block. As the siege intensifies outside, fear for their safety becomes as crippling as the conflict itself.
Dalia Taha's play offers a new way of seeing how war fractures childhood. Fireworks (Al'ab Nariya) is part of International Playwrights: A Genesis Foundation Project and received its world premiere at the Royal Court Theatre, London, on 12 February 2015.
One day after turning everything in her house black to hide the mess, she discovers she can no longer see her black cat Wilbur. So she decides to use a bit of magic, and that's when the trouble really starts...
This wonderful new play for children brings together all three books in the award-winning Winnie the Witch series which have delighted children all over the world. This is the perfect opportunity to introduce children aged 3 to 6 to the excitement of live theatre.
When Alice Liddell Hargreaves met Peter Llewelyn Davies at the opening of a Lewis Carroll exhibition in 1932, the original Alice in Wonderland came face to face with the original Peter Pan. In John Logan’s remarkable new play, enchantment and reality collide as this brief encounter lays bare the lives of these two extraordinary characters.