For over 20 years Marina Abramović has collected materials from film, dance, theatre, music, rituals and performance. For her lecture at Live Culture she wound through a personal visual archive of performance related materials focused around the performing body, its mental and physical limits.This documentation has since been presented with the permission of the artist as part of the Performance Matters, Performing Idea, Performance Lecture Archive; an interactive video archive housed at the Whitechapel Gallery between 2-9 October 2010. The archive looked at examples of the performance lecture as a form of artistic and critical expression and its potential to address a broad range of cultural issues and philosophical ideas.

With post-show discussion.“Pier Paolo Pasolini wrote of throwing the body into the fight. These words inspired me to go on stage. Other inspirations are the reality around me, the time in which I live, my memories of history, people, images, feelings and the power and beauty of music and the confrontation with one’s own body which, in my case, does not correspond with conventional ideals of beauty. To see bodies on stage that do not comply with the norm is important – not only with regard to history but also with regard to present developments, which are leading humans to the status of design objects. On the question of success: it is important to be able to work and to go your own way – with or without success. I simply do what I have to do.“www.raimundhoghe.comThis documentation has since been presented with the permission of the artist as part of the Performance Matters, Performing Idea, Performance Lecture Archive; an interactive video archive housed at the Whitechapel Gallery between 2-9 October 2010. The archive looked at examples of the performance lecture as a form of artistic and critical expression and its potential to address a broad range of cultural issues and philosophical ideas.

Reviews ways in which sexuality has been explored and expressed in new forms of performance art and dance, women’s contributions to theatre history, and how theatre has represented women over the centuries.

Part of the Library of Performing Rights (LPR) (P3041).

Accompanying CD for Performance Research: On Listening Vol. 15 No. 3.Linked articled A0336, A0335, A0334. Includes Listening-as-Touch: Paying attention to Rosemary Lee’s Common Dance, To See versus To Believe: A conversation on listening and The Horizon of Sound: Soliciting the Earwitness

See D1512 for accompanying journal audio CD.

Performance in Profile is the British Council’s guide to UK companies and artists currently creating interesting work available for international touring.

This Is Performance Art: Performed Sculpture and Dance8th April 2010 – 06 June 2010Camden Arts Centre, co-commissioned by the Yorkshire Sculpture ParkAlso see D1485 and P1517Mel Brimfield’s residency, This is Performance Art, will be a historical reappraisal of performance art of the 20th Century. Through a series of discussions, documentary research, re-enactments and live performance she will undertake an examination of what can be said to constitute the ontology of ‘live art’ within current discourse. This research will form the basis for a documentary film, the first in a series, charting the new narrative through the fragmented and often unreliable documentary record of this elusive art form. The final film will be screened in the Artists’ Studio at Camden Arts Centre at the culmination of the residency along side a series of live performances and re-enactments. Mel Brimfield’s complex practice takes a skewed and tangled romp through the already vexed historiography of performance art, simultaneously revealing and inventing a rich history of collaboration between artists, dancers, theatre makers, political activists and comedians. Meticulously drawn and painted posters and programmes for fictional interdisciplinary cabarets, together with costumes and props, are produced alongside documentary-style films and live works that playfully associate performance art with most significant cultural developments of the last 100 years.

Performance Matters Performing Idea Dialogues,Toynbee Studios 04.10.10:Choreographer Jonathan Burrows and writer and curator Adrian Heathfield have developed a dialogue around the relationship between writing and dancing. They were interested in exploring the creative tension between the distinctive affects of embodied actions and spoken words, investigating their different roles in the making and receiving of meaning. They were fascinated by those moments of intensity – unforgettable yet unspeakable – where something of life is disclosed between sense and sensibility. What are the relative weights of gestures and words in a performance space? How can each open to the other? What place does music occupy in a negotiation between muted movements and sonorous words? What might be some principles of composition for a generative relation between creative writing and choreography?

A collection of essays by international scholars that addresses the global development of performance research in the late twentieth and early twenty-first centuries. The collection functions as a critical reader on diverse approaches to studying performance that contest dominant paradigms of performance studies.