Skip to main content

Catalogue > By Keyword > Nicholas Ridout

13 results | Page 1 of 2

Beyond Immersive Theatre: Aesthetics, Politics and Productive Participation

Artist/Author: Adam Alston | Reference: P3101 | ISBN: 978-1137480439 | Type: Publication

Does immersive theatre model a particular kind of politics, or a particular kind of audience? What’s involved in the production and consumption of immersive theatre aesthetics? Is a productive audience always an empowered audience? And do the terms of an audience’s empowerment stand up to political scrutiny?

Passionate Amateurs: Theatre, Communism, and Love

Artist/Author: Nicholas Ridout | Reference: P2407 | ISBN: 9780472119073 | Type: Publication

Passionate Amateurs argues that theatre in modern capitalism can help us think afresh about notions of work, time, and freedom. Its title concept is a theoretical and historical figure, someone whose work in theatre is undertaken within capitalism, but motivated by a love that desires something different.

Labour Practices

Artist/Author: Mary Paterson | Digital Reference: EF5096 | Type: Digital File

Documentation of the event as part of the programme of the At Your Service exhibition at The David Roberts Art Foundation looking at the ways in which artists use ideas of service and labour as creative strategies, and considered the ethics of recruiting the labour of others in works of art.

Eat, Drink, LIFT: reflections on the festival

Artist/Author: Nicholas Ridout | Reference: A0410 | Type: Article

On the festival of international theatre.

Sacred Symposium

Artist/Author: a.a.s (aasgroup.net) Johanna Linsley | Reference: D1540 | Type: DVD

How might performance engage us in thinking and feeling our relationship to money, magic, pretending, imagination: what is it we are looking for in the make-believe world we live in?

Sacred Symposium: A Make Believe World

Artist/Author: Sarah Jane Bailes, Sara Juli, Richard Foreman | Reference: D1523 | Type: DVD

Symposium programme notes:This symposium will consider questions of performance, belief, and credit.One way in which some kinds of performance distinguishes itself from other kinds – that sometimes go under the name of ‘theatre’ – is by emphasising that what it is doing is ‘real’, as opposed to the acting and pretending that goes on elsewhere. ‘Performing the Real’ was the subject of the 2009 symposium held as part of SACRED. This time we are turning away from the ‘real’ to think about the many ways in which performance is still interested in make-believe, and how make-believe itself might turn out to be part of the ‘real’.The current financial crisis has revealed how the system upon which we supposedly all depend is itself dependent upon how much we believe in it. Value is an expression of belief: if we believe that such and such a company, or bank, possesses the assets it purports to possess, then, in effect, those assets exist. The moment we stop believing, the value of the company or bank collapses, and the assets in question cease to exist.A credit crunch is what happens when people suddenly stop believing in the financial system – or when we start to wonder why we believe what we are seeing on stage. How might performance engage us in thinking and feeling our relationship to money, magic, pretending, imagination: what is it we are looking for in the make-believe world we live in? The symposium will feature: * a discussion with Richard Foreman (Ontological-Hysteric Theater); * keynote presentations from performance scholars Sara Jane Bailes, Jen Mitas, and Nicholas Ridout; * performative provocations from artists Karen Christopher and Sara Juli, also presenting work in the SACRED season; * break-out panels from a range of researchers and artists; * a Long Table discussion hosted by Lois Weaver; * the attendance of Richard Maxwell (New York City Players) and PS122 Director Vallejo Gantner; * the UK premiere of New York City Players’ ADS.

Sacred Symposium: A Make Believe World

Artist/Author: Nicholas Ridout, Karen Christopher, Jen Mitas | Reference: D1525 | Type: DVD

Symposium programme notes:This symposium will consider questions of performance, belief, and credit.One way in which some kinds of performance distinguishes itself from other kinds – that sometimes go under the name of ‘theatre’ – is by emphasising that what it is doing is ‘real’, as opposed to the acting and pretending that goes on elsewhere. ‘Performing the Real’ was the subject of the 2009 symposium held as part of SACRED. This time we are turning away from the ‘real’ to think about the many ways in which performance is still interested in make-believe, and how make-believe itself might turn out to be part of the ‘real’.The current financial crisis has revealed how the system upon which we supposedly all depend is itself dependent upon how much we believe in it. Value is an expression of belief: if we believe that such and such a company, or bank, possesses the assets it purports to possess, then, in effect, those assets exist. The moment we stop believing, the value of the company or bank collapses, and the assets in question cease to exist.A credit crunch is what happens when people suddenly stop believing in the financial system – or when we start to wonder why we believe what we are seeing on stage. How might performance engage us in thinking and feeling our relationship to money, magic, pretending, imagination: what is it we are looking for in the make-believe world we live in? The symposium will feature: * a discussion with Richard Foreman (Ontological-Hysteric Theater); * keynote presentations from performance scholars Sara Jane Bailes, Jen Mitas, and Nicholas Ridout; * performative provocations from artists Karen Christopher and Sara Juli, also presenting work in the SACRED season; * break-out panels from a range of researchers and artists; * a Long Table discussion hosted by Lois Weaver; * the attendance of Richard Maxwell (New York City Players) and PS122 Director Vallejo Gantner; * the UK premiere of New York City Players’ ADS.

Sacred Symposium: A Make Believe World

Artist/Author: Aoife Monks, Sophie Nield | Reference: D1524 | Type: DVD

Value is an expression of belief: if we believe that such and such a company, or bank, possesses the assets it purports to possess, then, in effect, those assets exist. The moment we stop believing, the value of the company or bank collapses, and the assets in question cease to exist. A credit crunch is what happens when people suddenly stop believing in the financial system – or when we start to wonder why we believe what we are seeing on stage. Symposium Notes

Donation

£