A Sourcebook Of Performance Labor

A Sourcebook of Performance Labor presents the views and experiences of collaborators in other artists’ works. This book reorients well-known works of contemporary performance and social practice around the workers who have shaped, enacted, and supported them. It emerges from perspectives on maintenance, care, affective labor, and the knowledges created and preserved through gesture and intersubjectivity. This compilation of interviews is filled with the voices of collaborators in notable works attributed to established contemporary artists, including Francis Alÿs, Tania Bruguera, Suzanne Lacy, Ernesto Pujol, Asad Raza, Dread Scott, and Tino Sehgal. In the spirit of the artworks under discussion, this book reinvests in the possibilities for art as a collective effort to explore new ways of finding ourselves in others and others in ourselves. The Sourcebook collection is a contribution for further theorizing a largely unaddressed perspective in contemporary art. This collection will be of great interest to students and scholars in performance studies and art history.

A Sourcebook on African-American Performance is the first volume to consider African-American performance between and beyond the Black Arts Movement of the 1960s and the New Black Renaissance of the 1990s. As with all titles in the Worlds of Performance series, the Sourcebook consists of classic texts as well as newly commissioned pieces by notable scholars, writers and performers. It includes the plays 'Sally's Rape' by Robbie McCauley and 'The American Play' by Suzan-Lori Parks, and comes complete with a substantial, historical introduction by Annemarie Bean. Articles, essays, manifestos and interviews included cover topics such as: * theatre on the professional, revolutionary and college stages * concert dance * community activism * step shows * performance art. Contributors include Annemarie Bean, Ed Bullins, Barbara Lewis, John O'Neal, Glenda Dickersun, James V. Hatch, Warren Budine Jr. and Eugene Nesmith.

This sourcebook provides complete, up-to-date coverage of all aspects of performance management -- communication, coaching, measuring, rating, reviewing, and developing. It is a collection of articles from today's most authoritative sources which have been pre-selected and organized by experts to make it easy for you to get the best information on current trends in the field. This is an invaluable resource for those who are designing, managing, and evaluating performance management systems. It links performance management to strategy, and discusses it as an organizational culture change mechanism. The articles and other resources have been carefully selected to emphasize application, which makes this a practical how to sourcebook on all aspects of performance. Also included are ready-to-use, fully reproducible handouts, questionnaires, transparency masters, and other materials to use in presentations and training.

This book charts the impact of Shakespeare’s works on Harold Pinter’s career as a playwright. This exploration traces Shakespeare’s influence through Pinter’s pre-theatre writings (1950-1956), to his collaboration with Sir Peter Hall (starting properly at the RSC in 1962 and continuing until 1983), and a late, unpublished screenplay for an adaptation of The Tragedy of King Lear (2000). Adding to studies of playwrights such as Samuel Beckett and James Joyce as significant influences on Harold Pinter’s work, this study aims to highlight the significant and lasting impact that Shakespeare had both formatively and performatively on the playwright’s career. Through exploring this influence, Morton gains not only a greater understanding of the shaping of Pinter’s artistic outlook and how this affected his writing, but it also sheds light on the various forms of Shakespeare’s continued influence on new writing, and what can be gained from this. This study will be of great interest to students and scholars in theatre and performance studies.

This book provides an engaging and contextualised insight into a South African township-based arts centre that has survived the vicissitudes of steady militarisation in townships during some of the worst years of apartheid as well as the exhilaration of a new democratic policy while attempting to circumnavigate different policies and funding dispensations. Sibikwa provides arts centres across the world and especially those in decolonising countries with strategies for survival in tumultuous times. This multi-disciplinary book maps and co-ordinates wider historical, political, and social contextual concerns and events with matters specific to a community-based east of Johannesburg and provides an exploration and analysis by experts of authentic theatre-making and performance, dance, indigenous music, arts in education and NGO governance. It has contemporary significance and raises important questions regarding inclusivity and transformation, the function and future of arts centres, community-based applied arts practices, creativity, and international partnerships. This study will be of great interest to students and scholars in theatre and performance, indigenous music, dance, and South African history.

Instruments of Embodiment draws on fashion theory and the philosophy of embodiment to investigate costuming in contemporary dance. It weaves together philosophical theory and artistic practice by closely analyzing acclaimed works by contemporary choreographers, considering interviews with costume designers, and engaging in practice-as-research. Topics discussed include the historical evolution of contemporary dance costuming, Merce Cunningham’s innovative collaborations with Robert Rauschenberg, and costumes used in Ohad Naharin’s Virus (2001) and in a ground-breaking Butoh solo by Tatsumi Hijikata. The relationship between dance costuming and high fashion, wearable computing, and the role costume plays in dance reconstruction are also discussed and, along the way, an anarchist materialism is articulated which takes an egalitarian view of artistic collaboration and holds that experimental costume designs facilitate new forms of embodied experience and ways of seeing the body. This book will be of great interest to students and scholars working in performance philosophy, philosophy of embodiment, dance and performance studies, and fashion theory.

"To what extent can different forms of social capital help immigrants make headway on the labour market? An answer to this pressing question begins here. Taking the Netherlands and Germany as case studies, the book identifies two forms of social capital that may work to increase employment, income and occupational status and, conversely, decrease unemployment. New insights into the concepts of bonding and bridging arise through quantitative research methods, using longitudinal and crosssectional data. Referring to a dense network with 'thick' trust, bonding is measured as family ties, co-ethnic ties and trust in the family. Bridging is seen in terms of interethnic ties, thus implying a crosscutting network with 'thin' trust. Immigrant Performance in the Labour Market reveals that although bonding allows immigrants to get by, bridging enables them to get ahead"--Publisher's description.

This book focuses on experimental theatre company, GAle GAtes, credited as "the true innovator" of the contemporary immersive movement. The Immersive Theatre of GAle GAtes is a case-study of this little-known but visionary company, with a focus on its development and dramaturgy. Through rare archival and primary research, as well as historical context, the text chronicles company narrative and celebrates the artistic impulse. The book employs descriptive-narrative and dramaturgical analysis and is composed of historical research, rare archives, and primary source interviews. Chapters focus on the trajectory of the avant-garde leading up to the climate in which the company formed, company formative years, and major works and a discussion on the interdisciplinary and theoretical frameworks critical to its understanding. This study will be of great interest to students and scholars in theatre and performance studies and essential reading for theatre artist and historian alike, with a focus on the experimental theatre landscape.