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Camp: Queer Aesthetics and the Performing Subject, A Reader
Addresses the multi-layered issue of camp, whose inexhaustible breadth of reference and theoretical relevance to the issues taken up by academic research in recent years have made it one of the most salient and challenging issues on the contemporary critical stage.
Twentieth Century Theatre: A Sourcebook
Richard Drain, Twentieth Century Theatre: A Sourcebook, performance studies, featuring performance texts and critical essays from a range of sources.
Devising Theatre: A Practical and Theoretical Handbook
A practical handbook that combines a critical analysis of contemporary devised theatre practice with descriptions of selected companies, and suggestions for any group devising theatre from scratch.
Backpages: In Memoriam, David Bradby
Personal tributes from practitioners and colleagues
Sex Objects: Art and the Dialectics of Desire
Explores how sex in art is as diverse as sex in everyday life.
Of the Presence of the Body: Essays on Dance and Performance Theory
Focuses on the historical, cultural and political contexts that inform choreographic and dance practices and critical readings of dance-in other words, how dance operates as critical discourse.
What Is Live Art?
Good Luck Everybody. Lone Twin Journeys Performances Conversations
The book contextualises, documents and analyses Lone Twin’s work. It explores their interest in live performance, journeys, places, language, narrative and image, and includes original interviews, essays, performance texts and photographs.
This item is referenced in the Making Routes Study Room Guide (P1964).
Text and Performance Quarterly: Disability Studies Special Issue
Text and Performance Quarterly. Volume 28 Numbers 1-2 January-April 2008
The Emancipated Spectator
Asking exactly what we mean by political art or the politics of art, Rancière goes on to look at what the tradition of critical art, and the desire to insert art into life, has achieved. Has the militant critique of the consumption of images and commodities become, ironically, a sad affirmation of its omnipotence?
