Titlebook: Applying Performance; Live Art, Socially E Nicola Shaughnessy Book 2012 Palgrave Macmillan, a division of Macmillan Publishers Limited 2012

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Alpha-Cells

https://doi.org/10.1007/978-3-030-51015-2upils from four local schools, and the Departments of Drama and Theatre Studies and Electronics at the University of Kent. This was a C&T-style Living Newspaper project (the company trained the university students during a residency), focusing on the 1942 Canterbury Blitz.

Condyle

Yag-Capsulotomy

Setting the Scene: Critical and Theoretical Contextsand places, distance no longer matters in the context of Skype, while the past is being returned to the present through new technologies for recovering, preserving and documenting. We seek to possess the past through a commodification of history. Family archives become part of our material identitie

GUEER

Pasts, Pioneers, Politics, engaging its publics through social and collaborative modes which repositioned art as ‘work’ (rather then contemplative leisure), orientated towards political change and, at its most extreme, revolution. Although the historical avant-garde, the neo avant-garde and applied theatre and performance m

切割

Performing Lives range of performance artists use autobiographical material in their work, finding an appropriate form for personal content: Laurie Anderson, Annie Sprinkle, Holly Hughes, Rachel Rosenthal, Lenora Champagne, Peggy Shaw and Lois Weaver, to name but a few. In the United Kingdom, similarly, performers

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Digital Transportationsis fieldwork: ‘the Internet access was of little use because it seldom functioned. No special educational programs had been made available, and no special content was provided in Hindi, the only language the children knew’ (Warschauer, 2003). Some parents expressed concern about the new technology d

monopoly

Participatory (Syn)Aestheticsical analysis’ its inarticulacy being ‘due to the fact that the act of immediate perception is primarily located in the body’ (2009: 2). This ‘(syn)aesthetic style she associates with productions such as Theatre de Complicite’s . (1992), De la Guarda’s form of ‘shock’ theatre in pieces such as . (19

spondylosis

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