DOCSLIB.ORG

Collective Creation in Contemporary Performance

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Collective Creation in Contemporary Performance Copyrighted Material - 9781137331267 Collective Creation in Contemporary Performance Kathryn Mederos Syssoyeva, Editor, and Scott Proudfit, Associate Editor Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267 collective creation in contemporary performance Copyright © Kathryn Mederos Syssoyeva and Scott Proudfit, 2013. All rights reserved. Chapter 7 originally appeared under the title “Created by the Ensemble: Generative Creativity and Collective Creation at the Dell’Arte International School of Physical Theatre” in Theatre Topics 22:1 (2012): 49– 61. © 2012 The Johns Hopkins University Press. Revised and reprinted with permission of The Johns Hopkins University Press. First published in 2013 by PALGRAVE MACMILLAN® in the United States— a division of St. Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Where this book is distributed in the UK, Europe and the rest of the world, this is by Palgrave Macmillan, a division of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN: 978- 1- 137- 33126- 7 Library of Congress Cataloging- in- Publication Data Collective creation in contemporary performance / edited by Kathryn Mederos Syssoyeva and Scott Proudfit. pages cm Includes index. ISBN 978- 1- 137- 33126- 7 (hardback) 1. Performing arts— Europe— History— 20th century. 2. Performing arts— United States— History— 20th century. 3. Experimental theater— Europe— History— 20th century. 4. Experimental theater— United States— History— 20th century. 5. Creation (Literary, artistic, etc.) 6. Collaborative behavior. I. Syssoyeva, Kathryn Mederos, 1961– editor of compilation. II. Proudfit, Scott, 1971– editor of compilation. PN2570.C65 2013 791.094— dc23 2013009069 A catalogue record of the book is available from the British Library. Design by Scribe Inc. First edition: September 2013 10 9 8 7 6 5 4 3 2 1 Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267 Contents List of Figures ix Introduction: Toward a New History of Collective Creation 1 Kathryn Mederos Syssoyeva 1 Preface: From Margin to Center— Collective Creation and Devising at the Turn of the Millennium (A View from the United States) 13 Scott Proudfit and Kathryn Mederos Syssoyeva 2 The Playwright and the Collective: Drama and Politics in British Devised Theatre 39 Roger Bechtel 3 Collective Creation and the “Creative Industries”: The British Context 51 Alex Mermikides 4 Eugenio Barba and the Odin Teatret: A Collective Ethos 71 Ian Watson 5 An Actor Proposes: Poetics of the Encounter at the Workcenter of Jerzy Grotowski and Thomas Richards 95 Kris Salata 6 Lecoq’s Pedagogy: Gathering up Postwar Europe, Theatrical Tradition, and Student Uprising 111 Maiya Murphy with Jon Foley Sherman 7 Created by the Ensemble: Histories and Pedagogies of Collective Creation at the Dell’Arte International School of Physical Theatre 125 Claire Canavan 8 Framework for Change: Collective Creation in Los Angeles after the SITI Company 137 Scott Proudfit 9 The Nature Theater of Oklahoma: Staging the Chaos of Collective Practice 151 Rachel Anderson- Rabern Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267 viii CONTENTS 10 In Search of the Idea: Scenography, Collective Composition, and Subjectivity in the Laboratory of Dmitry Krymov 165 Bryan Brown 11 The Case of Spain: Collective Creation as Political Reaction 187 Nuria Aragonés 12 Collective (Re)Creation as Site of Reclamation, Reaffirmation, and Redefinition 195 Thomas Riccio Notes on Contributors 211 Index 215 Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267 Introduction Toward a New History of Collective Creation Kathryn Mederos Syssoyeva ollective Creation in Contemporary Performance is the second book in a larger Cbody of research, which began with A History of Collective Creation (Sys- soyeva and Proudfit, Palgrave, 2013). Though these two volumes were conceived to be readable independently of each other, together they constitute a rehistorici- zation of collective creation and devising practices in Europe and the United States between 1900 and the present. A History of Collective Creation opens in 1905 and traces developments through the mid- 1980s. This present volume begins where A History left off. These two works emerged from the contributions of a scholarly working group, originally convened in 2010 with the aim of uncovering the roots of 1960s collective creation practices in an earlier theatrical era and tracing the legacy of those practices in the contemporary form of theatre- making now better known, in England and the United States, under the term devising. Along the way, we have been fortunate to be able to add several significant contributions to the present volume from scholars not in attendance in the original working group. Nonethe- less, and notwithstanding the evolving insights generated by our ongoing investi- gations, the premises that inform A History of Collective Creation have remained essentially the same for Collective Creation in Contemporary Performance. These two works, therefore, share a single introduction (with minor modifications), providing the historical and historiographic context from which the present vol- ume emerges and laying out the concerns, definitions, methodology, and para- digms that have shaped both books. Chapter 1 of this present volume, “Collective Creation and Devising at the Turn of the Millennium (A View from the United States),” builds upon the introduction, offering detailed consideration of some of the shifts and evolutions that have marked the progress of collective creation practice since the 1960s. Copyrighted Material - 9781137331267 Copyrighted Material - 9781137331267 2 KATHRYN MEDEROS SYSSOYEVA Historiography “The group, not the individual,” writes Theodore Shank at the opening of his 1972 article, “Collective Creation,” “is the typical focus of an alternative society.”1 In the 1960s and 1970s— decades marked in so many Western nations by utopic yearning— the theatre, as elsewhere, became a site of society building, and in the alternative theatres of North America, Australia, parts of Latin America, and Europe, the group was ascendant. Collective creation— the practice of collaboratively devising works of performance— rose to prominence, not simply as a performance- making method, but as an institutional model. This was the heyday of The Living Theatre, years that saw the nascence of France’s Théâtre du Soleil, of The Agit Prop Street Players in England and El Teatro Campesino in the fields of Southern California, of English Canada’s Théâtre Passe- Muraille and Quebec’s Théâtre Euh!— companies associated, variously, with collective performance creation, egalitarian labor distri- bution, consensual decision making, and sociopolitical revolt. The prominence of collective creation in the alternative theatres of the six- ties and seventies has, with time, led to a vague sense that collective creation— along with sex, drugs, and youth culture— sprang more or less fully grown from the thigh of ’68. This conflation derives from early historicization of collective theatre- making, such as we find in Mark S. Weinberg’s seminal work, Challeng- ing the Hierarchy: Collective Theatre in the United States (1992).2 For Weinberg, hacking a path through what was still a largely uncharted terrain of theatre his- tory, collective creation and the social and political upheaval of sixties America were virtually synonymous: “The generation of the sixties led this movement as part of its theatricalization of political life and its use of theatre as a weapon in its political struggles.”3 But the sixties are hardly the only era in which human beings have entertained utopic longings for a more perfect social union. Nor are they the only time that alternative theatre companies have yearned, not merely for more cooperative modes of work, but to hold, in their daily practices of work and collegial interac- tion, to a higher standard of interpersonal relations— to make of the artistic group a model for a better way of being together in the world, a space in which to enact, with a few likeminded collaborators, a backstage performance of a more civil soci- ety or, failing that, a refuge from an oppressive sociopolitical landscape. The conflation of collective creation with sixties counterculture and New Left politics has resulted in a tendency either to read present devising practices (fre- quently cited as less politically motivated than their predecessors)4 as a failure or rejection of the theatrical politics of the sixties or, perhaps more problematic, to divorce contemporary devising from its antecedents, giving rise to ruptured his- tories of practice.5 Such a temporally and culturally bounded reading negates a rich tradition of collective creation practices of other types, in other countries, in other eras— preceding, running parallel to, and following from their more visible sixties counterparts. Historical writing on collective creation is a recent phenomenon. Significant English- language works6 begin in 1972 with the publication of Theodore Shank’s aforementioned article in The Drama Review, followed 15 years later by the first Copyrighted Material - 9781137331267 Copyrighted
Load more

Recommended publications
  • The Kitchen Center for Video, Music and Dance
    THE KITCHEN CENTER FOR VIDEO, MUSIC AND DANCE December 29, 1979 Woody,Steina Vasulka 257 Franklin Street Buffalo, New York 14202 Dear Woody and Steina, Enclosed is a rough draft of the videotape catalogue we're trying to put together . A few tapes are listed under your name . Could you please look over this information and make corrections, exclamations and changes where necessary . I would like to have your changes or OK by the end of February if possible . Thanks for the trouble . Board of Directors Robert Ashley Paula Cooper Suzanne Delehanty Philip Glass Barbara London Mary MacArthur Barbara Pine Carlota Schoolman Robert Stearns John Stewart Caroline Thorne Paul Walter HALEAKALA, INC. 59 WOOSTER NEW YORK, NEW YORK 10012 (212) 925-3615 ARTIST ADDRESS PHONE NAME OF TAPE CORRECTIONS/ADDITIONS SUGGESTIONS ARTIST (S) TITLEUS) TIME Ga n m r 0 0 0 cc w r a m wm AARON , Jane and When I Was A Worker Like LaVerne r 0 r n rt N~ x n a0 n BLUMBERG , Skip 29 minutes 0 w 0 K A straightforward account of both management and labor at a w rr Sears and Roebuck Company mail order house in Chicago . The m m plant foreman explains some of the operations of the business n with a tour through the nine floor structure, spotted along m with interviews with workers at a variety of duties, who appear to genuinely enjoy their labors . x R X X x Note : Copy #1 ACCONCI , Vito Red Tapes 140 minutes I, Common Knowledge Picture plane space - novelistic - scheme of detective story .
    [Show full text]
  • Story the Viewp
    Unpublished Notes on the Viewpoint of Story Based on the Work of Mary Overlie Wendell Beavers (Copyright 2000) Story The Viewpoint of Story has a particular provenance which is rooted in a moment of dance history which declared itself anti-story, anti literal and anti illusion.* Several of the most powerful storytelling experiences in the theater I ever witnessed were performances of the Grand Union, a group made up of participants of the Judson Dance Theater. Its members were perceived as both heroic and legendary performers and disgusting cheapeners of the magic that was supposed to happen in the theater. The divide was mostly generational and the result of a natural sort of overthrow of what came before. Their brand of open improvisational performance featured precipitous surprises and a kind of high drama difficult to explain because of the ordinary circumstances from which these events always managed somehow to arise. The next “thing” to happen always seemed inevitable after the fact, but completely impossible to anticipate the moment before. This was storytelling--which got labeled post-modern--but in retrospect had a peculiar link to shamanistic story telling. It may be jarring to link post modernism with shamanism because we associate shamanism with the cultivation and communication of spiritual or other worldly things. Postmodern performers of the sixties and seventies were looking into themselves and their immediate environment. They were communicating or pointing out the nature of the material world before us. There was not supposed to be anything otherworldly about it. The ordinary magic that they practiced and bequeathed to the next generation was quite subversive to the modern dance sensibility, not to mention the high art theater world of ballet etc.
    [Show full text]
  • Barbara Dilley & Yvonne Rainer with Wendy Perron
    Danspace Project Conversations Without Walls: Barbara Dilley & Yvonne Rainer with Wendy Perron November 21, 2020 Judy Hussie-Taylor Welcome to Danspace Project and our Conversation Without Walls. I'm Judy Hussie-Taylor, Executive ​ ​ Director & Chief Curator. I'm honored to welcome three people I hold in high esteem, Barbara Dilley, Yvonne Rainer, and Wendy Perron. Thank you all for joining us today to celebrate Wendy's new book "The Grand Union: Accidental Anarchists of Downtown Dance 1970-76" published by Wesleyan University Press. So this is an exciting occasion. I just quickly want to thank our Danspace staff and our behind the scenes wizards, especially Yolanda Royster and Ben Kimitch, for holding us all together today on the Zoom. So all three of our guests have extensive histories with Danspace Project. Barbara Dilley co-founded Danspace Project, along with Mary Overlie and Larry Fagin in 1974. Prior to that, Barbara was a member of Merce Cunningham's company from 1963 to 1968. She danced with Yvonne Rainer from 1966 to 1970 and was a member of the Grand Union, which you'll hear a lot about today. She was instrumental in the founding of Naropa University in Boulder, Colorado, which is where I met Barbara. She designed the dance department and served as the University's President from 1985 to 1993. Most recently, she is the author of "This Perfect Moment, Teaching Thinking Dancing," which is part autobiography, part workbook. Choreographer, filmmaker, and the author of many books, Yvonne Rainer was a co-founding member of Judson Dance Theater in 1962.
    [Show full text]
  • A Proposal for an Integrated Rehearsal Methodology for Shakespeare (And Others) Combining Active Analysis and Viewpoints
    “UNPACK MY HEART WITH WORDS”: A Proposal for an Integrated Rehearsal Methodology for Shakespeare (and Others) Combining Active Analysis and Viewpoints by GERALD P. SKELTON, JR. BSc, MFA, MA A practice-based thesis submitted to the Faculty of Arts and Social Sciences of Kingston University in Partial Fulfilment of the Requirements for the Degree of Doctor of Philosophy September 2016 I hereby declare that the work presented in this thesis is my own. Gerald P. Skelton, Jr. ABSTRACT The performance of Shakespeare represents a distinct challenge for actors versed in the naturalistic approach to acting as influenced by Stanislavsky. As John Barton suggests, this tradition is not readily compatible with the language-based tradition of Elizabethan players. He states that playing Shakespeare constitutes a collision of “the Two Traditions” (1984, p. 3). The current training-based literature provides many guidelines on analysing and speaking dramatic verse by Shakespeare and others, but few texts include practical ways for contemporary performers to embrace both traditions specifically in a rehearsal context. This research seeks to develop a new actor-centred rehearsal methodology to help modern theatre artists create performances that balance the spontaneity and psychological insight that can be gained from a Stanislavsky-based approach with the textual clarity necessary for Shakespearean drama, and a physical rigour which, I will argue, helps root the voice within the body. The thesis establishes what practitioner Patsy Rodenburg (2005, p. 3) refers to as the need for words, or the impulse to respond to events primarily through language, as the key challenge that contemporary performers steeped in textual naturalism confront when approaching Shakespeare and other classical playwrights.
    [Show full text]
  • I Acknowledgements This Dissertation Is Not As Well
    Acknowledgements This dissertation is not as well written as I may wish, and my learnings not as explicit as I might wish, but the value this project has for me I will carry with me forever, and it will always be informing my engagement with the world around me. So Id like to start with “thank you.” To Ørjan Hattrem for having faith enough to invite me into his exiting school, to all the teachers and staff at HiNT for their warmth and generosity, to the class of 2014 for me to research with them, and to NTNU. Putting me through this project forced me to undertake a journey I was perhaps not prepared to take. I want to make particular mention of Associate Professor Ellen Foyn Brunn, who has led me to a place where I have been able to challenge my presumptions regarding academia, my own ability to express myself, and I now realize she has always been one (or many) steps ahead of me, waiting patiently for me to catch up with my own project. I would also like to make particular mention of Associate Professor Sandra Mladenovitch who taught me more than I can ever express on theatre pedagogy, how to work with actors, and how to think in and of rehearsals. For you two thank you is not enough for what my body feels. Because of them I have been able to undertake a project that has led me to unexpected places, and I have gained insights that will for ever inform my practices not only as director or researcher but as human being too.
    [Show full text]
  • THE LIVING THEATRE & SYMBOLIC CAPITAL By
    OVERTURNING MAMMON: THE LIVING THEATRE & SYMBOLIC CAPITAL by Peter Wood BA, Rhode Island College, 2000 MA, University of Maryland, 2004 Submitted to the Graduate Faculty of Te Dietrich School of Arts & Sciences in partial fulfllment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE DIETRICH SCHOOL OF ARTS & SCIENCES Tis dissertation was presented by Peter Wood It was defended on March 3, 2016 and approved by Peter Karsten, Professor, History Lisa Jackson-Schebetta, Assistant Professor, Teatre Arts Dissertation Co-Advisor: Michelle Granshaw, Assistant Professor, Teatre Arts Dissertation Co-Advisor: Bruce McConachie, Professor Emeritus, Teatre Arts ii Copyright © by Peter Wood 2016 iii OVERTURNING MAMMON: THE LIVING THEATRE & SYMBOLIC CAPITAL Peter Wood, PhD University of Pittsburgh, 2016 Abstract: Overturning Mammon: Te Living Teatre and Symbolic Capital focuses on the frst thirteen years of the Living Teatre, founded by Judith Malina and Julian Beck. Pierre Bourdieu’s theories of cultural production provide the theoretical tools to approach the company as a cultural producer and not only as theatre artists. Te Living Teatre has produced largely unpopular avant-garde and political theatre for seventy years. I argue that the company’s early years demonstrate a growing reserve of symbolic capital that helps explain the company’s longevity. Furthermore, the manner in which certain events in the company’s history have been mythologized, by company members, critics, and scholars, has led to some historically inaccurate accounts. In particular, accounts of the closing of the company’s production of Te Brig in 1963 and the subsequent trial of Beck and Malina in 1964 have often been infuenced by an acceptance of company member’s anecdotal, “tall tales” approach to history rather than historical evidence and archival documents.
    [Show full text]
  • Movement for Actors This Page Intentionally Left Blank Movement for Actors
    Movement for Actors This Page Intentionally Left Blank Movement for Actors Edited by NICOLE POTTER © 2002 Nicole Potter The essays in Movement for Actors were written expressly for this book. Copyrights for individual essays are retained by their authors, © 2002. All rights reserved. Copyright under Berne Copyright Convention, Universal Copyright Convention, and Pan-American Copyright Convention. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form, or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior permission of the publisher. 06 05 04 03 02 5 4 3 2 1 Published by Allworth Press An imprint of Allworth Communications, Inc. 10 East 23rd Street, New York, NY 10010 Cover and interior design by Annemarie Redmond Cover photo credits (clockwise, from upper left): Margolis Brown Theater Company, The Bed Experiment, conceived and written by Kari Margolis and Tony Brown, photo: Jim Moore; Theater Ten Ten, King Lear, 1998, directed by Rod McLucas, fight direction by Joe Travers, Jason Hauser (Edmund), Andrew Oswald (Edgar), photo: Sascha Nobés; Shakespeare and Company, Sarah Hickler, Rebecca Perrin, Mary Conway, Susan Dibble, photo: Stephanie Nash. Page composition/typography by Sharp Des!gns, Lansing, MI ISBN: 1-58115-233-7 LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Movement for actors / edited by Nicole Potter. p. cm. Includes bibliographical references and index. ISBN 1-58115-233-7 1. Movement (Acting) I. Potter, Nicole. PN2071.M6 M59 2002 792'.028—dc21
    [Show full text]
  • Diffuse, Divide, Devise: an Analytical Study of Devised Theatre
    Diffuse, Divide, Devise: An Analytical Study of Devised Theatre By Darcie DeLong, Adam Derrick, Tess Evans-Shell, and Laura Mixon In the year 2014, devised theatre is not a marginal or experimental methodology. The massive artistic and commercial success of the National Theatre in London’s production of War Horse showed the world that devising is not a toy for young actors and free spirits, but simply a way of producing beautiful, meaningful art. Devising stands beside mainstream theatre, like a cousin or younger sibling. But this too is an inadequate picture since devising draws from roots just as ancient as any other form of performance. Devising is merely different. Its backbone is an ensemble of ideas rather than a script. It reveres the human body or spirit the way dramatists revere Shakespeare. The performers hold a stronger artistic voice than the script writer. Although the traditional theatre art form has always respected creative ways to express simple truths, devising perhaps brings a multifaceted perspective that would otherwise not be reached. There continues to be ambiguity when discussing devised theatre. All assert that it is an alternative method of creating a theatrical work, but there are many veins and styles that may or may or may not be lumped together when trying to define it. Allison Oddey, in her work Devising Theatre, has this to say: “A devised theatre product is work that has emerged from and been generated by a group of people working in collaboration” (1). The key feature of a devised piece is its methodology, or how the project comes into being.
    [Show full text]
  • Save Pdf (0.44
    In Memory Mary Overlie 1946–2020 Blackboard — Hand — Stone On the day I met Mary Overlie in the summer of 2004, I sat enraptured (if befuddled) as she stood before her iconic blackboard and lectured on the approach to theatre that she orig- inated and developed since the 1970s: The Viewpoints. On the board, she had written the names of The Viewpoints’ six materials: Space, Shape, Time, Emotion, Movement, and Story. Below them were her chalk drawings representing The Viewpoints’ foundational principles: six squares to show “solid state theatre” and its “deconstruction”; the “vertical” tower of classicism and modernism collapsing to the “horizontal” assemblage of postmodernism; and the circle of “­reification,” her name for the artists’ process of moving concepts, ideas, forms, and percep- tions from the unknown to the known and back again. Then, she flipped the board to reveal her drawing of “The Bridge,” with its nine supportive frames for Viewpoints study, which led from “News of a Difference” to “The Original Anarchist.” About an hour into her lecture, Mary extended her arm to gaze inquisitively at her hand. After some time, she said, “Any moment this will become art. This is The Viewpoints.” After years of talking with Mary, writing about her, teaching The Viewpoints, and creating perfor- mances through her work, I’ve come to understand the greater significance of my friend and mentor’s simple act. For me, it speaks to who Mary Overlie was, as a Bessie Award–winning ­choreographer, dancer, teacher, theorist, and comrade. What she taught with that gesture was the quiet confidence she modeled for her students through her life, art, and teaching.
    [Show full text]
  • The Role of the Writer and Authorship in New Collaborative Performance- Making in the United Kingdom from 2001-2010
    1 The Role of the Writer and Authorship in New Collaborative Performance- Making in the United Kingdom from 2001-2010 Sarah Caroline Sigal Department of Theatre and Performance Goldsmiths College, University of London Submitted for the Degree of Doctor of Philosophy of the University of London 18 July 2013 This thesis is available for library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. 2 Acknowledgments I would like to gratefully acknowledge the following people for their guidance, support (both academic and emotional) and generous intellectual and creative contributions. Without it, this PhD would not have been possible. For academic guidance: John Ginman, my supervisor, for all his patience and wisdom during the research and writing of this thesis, as well as John London, Göze Saner and Maria Shevtsova for their advice and assistance during the upgrading process. For the generous cooperation and of the following practitioners who agreed to be interviewed: Jon Bausor, Stephen Brown, Oliver Dimsdale, David Farr, Helen Edmundson, Scott Grahm, Theo Herdman, Steven Hoggett, Kirsty Hounsley, Samuel James, Dawn King, Bryony Lavery, Stuart McLaughlin, Nancy Meckler, Tim Phillips, Ben Power, Liz Ranken, Peter Rankin, Guy Retallack, Ferdy Roberts, Angela Simpson and Polly Teale. For the friendly and helpful administrative assistance in arranging for interviews of the aforementioned practitioners, as well as the viewing of archival material: the staff of the offices of Shared Experience, Frantic Assembly and Filter Theatre.
    [Show full text]
  • The Kitchen Videos and Records, 1971-2011 (Bulk 1971-1999)
    http://oac.cdlib.org/findaid/ark:/13030/c8jh3rrr Online items available Finding aid for The Kitchen videos and records, 1971-2011 (bulk 1971-1999) Judy Chou, Mark Simon Haydn, Emmabeth Nanol and Laura Schroffel. Finding aid for The Kitchen 2014.M.6 1 videos and records, 1971-2011 (bulk 1971-1999) Descriptive Summary Title: The Kitchen videos and records Date (inclusive): 1967-2011 (bulk 1971-1999) Number: 2014.M.6 Creator/Collector: Kitchen Center for Video, Music, Dance, Performance, Film, and Literature (New York, N.Y.) Physical Description: 426 Linear Feet(446 boxes, 7 flat file folders, 1 boxed roll) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: The Kitchen has been a center for innovative artistic activity since its founding in 1971. Operating as a meeting place between disciplines in New York, the space has fostered the development of experimental artwork across music, video, dance, performance, and installation art. The archive predominantly contains extensive video and audio recordings documenting performances at the space; artist files; posters; and printed ephemera. Audio and video recordings are unavailable until reformatted. Contact the repository for information regarding access. Some audiovisual material is currently available for on-site use only. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical / Historical Note The Kitchen was founded in 1971 as an artist collective by video artists Steina and Woody Vasulka.
    [Show full text]
  • “In the Quarter Century Since Terry Eagleton's Landmark Study, Literary
    “In the quarter century since Terry Eagleton’s landmark study, Literary Theory: An Introduction (Oxford: Blackwell, 1983), there have been dozens of books that aim at achieving a virtually encyclopedic chronicle of the various schools and methods of literary interpretation. Amidst this daunting array of thoughtful meditations on the myriad ways of characterizing the thing called “literature,” Herman Rapaport’s Literary Theory Toolkit presents a strikingly innovative perspective on theory and criticism that combines succinct and accessible accounts of the most signifi cant approaches to the experience of literature with a unique and compelling orientation to both contemporary avant-garde experimental poetics and performance theory. This volume will establish itself as an indispensable resource for anyone interested in contemporary thinking about everything from Saussurean linguistics to Badiou’s relation to Derrida to Meryl Streep’s style of acting, from Milton’s politics to the crisis of thinking about community after the Holocaust. Rapaport’s Toolkit combines an original refl ection on the theoretical act at large with a pedagogically useful and reliable synthesis of the enormous diversity of literary theories over the past century.” – Ned Lukacher, University of Illinois at Chicago Also Available Modern Literary Criticism and Theory by M. A. R. Habib Blackwell Guide to Literary Theory by Gregory Castle Literary Theory: Practical Introduction (second edition) by Michael Ryan Literary Theory: An Introduction (second edition) by Terry Eagleton THE LITERARY THEORY TOOLKIT A Compendium of Concepts and Methods Herman Rapaport A John Wiley & Sons, Ltd., Publication This edition fi rst published 2011 © 2011 Herman Rapaport Blackwell Publishing was acquired by John Wiley & Sons in February 2007.
    [Show full text]