Through case studies, this edited collection gives access to some of the leading organisations in the field, examining their creative processes and placing them in their historical context. In parallel, a series of interviews with individual artists explores their approaches and how they are re-shaped by the communities that they encounter.

Part of the Library of Performing Rights (LPR) (P3041).
Part of the Know How: The Study Room Guide on Live Art Live Art and working with older individuals and communities. (P3140)

Drawing primarily on the Western dramatic canon, on contemporary British theatre, on popular culture, and on paratheatrical practices, the book investigates theatrical engagement with aging from the Greek chorus to Reminiscence Theatre.

Part of the Know How: The Study Room Guide on Live Art Live Art and working with older individuals and communities. (P3140)

One of the most revealing accounts of what art creation entails and the ways in which the body, the center of our aesthetic knowledge of the world, can be regarded as our most informed teacher.

Part of the Know How: The Study Room Guide on Live Art Live Art and working with older individuals and communities. (P3140)

What are the implications of arts practice in people’s home or private rooms in residential care? What new understandings do they reveal about innovations in form, artistic labour practices and cultural organisations’ capacity? This article examines these questions through two projects.

Part of the Know How: The Study Room Guide on Live Art Live Art and working with older individuals and communities. (P3140)

In misc folder 7.

Interrogates the age-effects generated by early twenty-first century mainstream British theatre. To analyze the complex ways in which age is played out on the British stage–which seem at once both to challenge and to reiterate long-standing assumptions about age–it examines five productions seen in the autumn/winter season of 2011/12.

Part of the Know How: The Study Room Guide on Live Art Live Art and working with older individuals and communities. (P3140)

In misc folder 7.

Phase 1 report on the project which seeks to challenge ageist attitudes that, being old, residents will not wish to enjoy up-to-date work, and provides care home residents with access to top level arts experiences, even if they are physically or mentally frail.

Part of the Know How: The Study Room Guide on Live Art Live Art and working with older individuals and communities. (P3140)

Documents and examines the two year collaborative project with over 200 participants from Tower Hamlets, which culminated in the creation of Speak As You Find, an intergenerational site-specific performance created in Autumn 2015.
Part of the Know How: The Study Room Guide on Live Art Live Art and working with older individuals and communities. (P3140)

A Study Room Guide by the artist and activist Lois Weaver looking at key issues and works in relation to working with older constituencies

A LADA screening programme for the 2016 Venice International Performance Art Week: a collection of documentation and artists’ films looking at pain and performance.

Includes:

Marina Abramovic – On ‘Rhythm O’, 1974, 2013,  3’07” ; Ron Athey – Ron’s Story, 2001, 4’44”; Marcel.Li Antunez Roca – Epizoo, 1994, 8’29; Franko B – Don’t Leave Me This Way, 2009, 5’03”; Wafaa Bilal – On ‘Shoot An Iraqi’, 2007, 2’21”; Rocío Boliver – Times Go By and I Can’t Forget You: Between Menopause and Old Age, 2013, 4’18”; Cassils – The Powers That Be, 2016, 2’24”; Bob Flanagan – Cystic Fibrosis Song, 1990’s 1’32”; Regina Jose Galindo – Lucha, 2002, 3’37”; jamie lewis Hadley – this rose made of leather, 2012, 9’10”; Nicola Hunter & Ernst Fischer  – Passion/Flower, 2012, 4’02”; Oleg Kulik – Dog House 1996, 4’10”; Martin O’Brien – Taste of Flesh, 2015, 2’59”; Kira O’Reilly – Wet Cup, 2000, 2’29”; ORLAN – Successful Operation, 1990, 6’16”; Petr Pavlensky – Radical Artist In Court – Ukraine Today News Item,  2015, 1’57”

*currently unavailable*

A dark and ribald physical commentary on cultural mores, forays and sexual taboos. Aggiss places herself centre stage in this solo performance in a vociferously moving and disorientating display of contradictions and interpretations, on girls, ladies, women, mummys, mothers, bitches and dogs, pensioners and senior citizens.