Schenker's approach is based on his argument that much of contemporary performance practice is rooted in the nineteenth-century cult...

Schenker's approach is based on his argument that much of contemporary performance practice is rooted in the nineteenth-century cult...

Puppets and masks are central to some of the oldest worldwide forms of art making and performance, as well as some of the newest. In the twentieth century, French symbolists, Russian futurists and constructivists, Prague School semioticians, and avant-garde artists around the world have all explored the experimental, social, and political value of performing objects. In recent years, puppets, masks, and objects have been the focus of Broadway musicals, postmodernist theory, political spectacle, performance art, and new academic programs, for example, at the California Institute of the...

The Guerilla Performance and Multimedia Handbook is the ultimate guide for artists at all stages of their careers engaged in creating original performance and multimedia work, including hybrids of theatre, visual art, installation, physical theatre, dance, CD-Rom and web design. It covers all aspects of artist support including starting up a company, funding, multimedia tools, and documentation and marketing, and incorporates a useful Yellow Pages section with contact information for production, funding, venues, galleries, publications, festivals, printers, equipment hire, technical...

Joan Jonas approaches video as a drawing tool, a mirror, and a framing device. Since 1968, she has used video and performance to explore ways of seeing, the rhythms of ritual, and the archetypal authority of objects and gestures. With her influential 1976 work, I Want to Live in the Country (And Other Romances) Jonas nimbly structures an elliptical narrative that unmistakably establishes her voice and visual lexicon. I Want to Live in the Country features two locations -- the untamed landscape of Nova Scotia and an artist's studio in New York City -- as it examines themes of...

Herbert Blau here reflects on performance as it moved from the theatricalized activism of the sixties into the theoretical activism of the eighties. The essays theorize rather than formulate an ideological program. Blau takes risks at the speculative edge of thought. The Eye of Prey is comprised of diverse subject matter: love and mourning, play and aging, radical feminist and homosexual discourse, the politics of representation, comedy since the Absurd, Barthes and Beckett, Beckett and Derrida--a critique of certain aspects of postmodern thought and performance, and in particular the...

A reform-school runaway at thirteen, a performer in the legendary New York City Playhouse of the Ridiculous at seventeen, and an escapee from Andy Warhol's Factory scene at nineteen, Penny Arcade (born Susanna Ventura) emerged in the 1980s as a primal force on the New York art scene and an originator of what came to be called performance art. Arcade's brand of high camp and street-smart, punk-rock cabaret showmanship has been winning over international audiences ever since. This autobiographical trilogy of plays represents her at her best. Bitch Dyke Faghag Whore is Penny...