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Hoffmann Beth: Proper Theatre

Proper Theatre

The Politics of Form in Contemporary British Performance

Visions of the City

Arthur Miller's New York

Routledge Advances in Critical Diversities

Workers and Cities of Global Neoliberalism

Narratives, Visual Representations, and Affective Encounters

A Guide to Dynamic Musical Theatre Performance

Find Your 'It' Factor

Clark Studies in the Visual Arts

An examination of how engagement with the nuances of Caribbean intellectual thought could reshape art history

Seeing Art History from the Caribbean

Beyond Boundaries

Insider: How to Get a Job and Earn a Living in the Art World

Routledge Companions

Digital Humanities has emerged in recent years as a new paradigm within theatre and performance studies. This is the first volume to compile scholarly and best practice knowledge from around the globe, and to address both the history and future of this new field. Contributors examine a range of projects documenting, reconstructing and visualizing theatre and performance practices both past and present; discuss a new methodology for theatre scholarship, and for archiving and preserving works; and consider the impact of the Digital Humanities on higher education in theatre and performance studies.

The Routledge Companion to Digital Humanities in Theatre and Performance

Does art have to be beautiful? What if it can be useful instead? In this cutting-edge book, John Byrne shows how the concept of 'Useful Art' is helping artists and communities fight back against the neoliberal takeover of our spaces, services and lives. Byrne demonstrates that networks of artist-led activism and community-based direct action can provide a collaborative playbook of impactful and inclusive alternatives. From Turner Prize-winning urban regeneration projects to bakeries, vegetable gardens and multi-use arts spaces, Useful Art has enormous potential for bringing people together, recovering and preserving local skills and knowledge and reclaiming artistic endeavour for real-world good. Exploring an international selection of projects, exhibitions and activism, this important new work champions the shift from aesthetics to use value, challenging traditional ways of seeing the world symbolically through art. Reaching beyond the financial logic of the art world, Byrne shows how Useful Art can offer an artistic toolkit for implementing radical change.

How Activist Artists Can Change the World

Useful Art

Making the Rules

Elevator Repair Service

Archaeological Orientations

Art and Archaeology

X-Men For Dummies

Considers the enduring legacy of California Conceptualism, known for its lax approaches to creating, writing about, and exhibiting art. Moving away from making objects, and turning instead to staging scenes, the artists associated with California Conceptualism--including Eleanor Antin, John Baldessari, David Lamelas, Tony Ramos, Ilene Segalove, and William Wegman--behaved indifferently toward their art, denied making it and knowing what it was about, and displayed a lack of concern for its future. Their casual attitude and aesthetic transformed relationships between artists, critics, and viewers, separating those who could recognize these practices from those who could not. Contemporary artists have continued this trajectory, finding new ways to act casually through their "stance." In the humanities, this term is often taken to mean the beliefs, values, and intentions of authors, and it has offered a useful way to think about how artists position themselves toward their work and audiences. Jacob Stewart-Halevy builds on recent social theory to show how artists, critics, and other members of the art world wield stance to make sense of artworks and their social circumstances, arguing that, through the rise of conceptual art, stance has come to supplement--and in some cases replace--the aesthetic quality of artworks.

Downplaying Art Since California Conceptualism

The Casual

SOAS Studies in Music

With the abrogation of the Zen Buddhist Fuke sect during Japan's modernisation process in the late nineteenth century, the raison d'être for the shakuhachi (Japanese vertical bamboo flute) as a spiritual tool for mendicant monks suddenly vanished. Thereafter, playing the shakuhachi changed from spiritual practice to professional musicianship or musical hobby. The fact that the instrument had been modified and 'improved' has been a well-kept secret. The old style shakuhachi, now named jinashi shakuhachi, became a marginalised instrument for eccentrics. However, during the past decade it has gained popularity, especially outside Japan, where it is considered to be 'the real thing' as opposed to the modernised jinuri shakuhachi. Kiku Day examines how the jinashi shakuhachi, although constructed according to the principles current prior to the Meiji Restoration, itself has been modified to adapt to the needs of modern players. In order to place the instrument into the modern world in its own right, the author, a professional jinashi shakuhachi player, describes her recent collaboration with five international composers on a performance project with the aim of creating a new repertoire. This process of cross cultural creation is described against the background of action research, Theory U, and the theory of flow.

The Instrument Today and the Creation of a Contemporary Repertoire

The Jinashi Shakuhachi

Proper Theatre

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