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‘Interculturalism’ describes cultural interaction which combines the methods of one culture with those of others. In practice, this often means the influence of non-Western traditions on Western art.
Drawing on a half century of documenting performance across multiple genres, from post-modern dance to physical theater to body work, as well as site-specific performance, with audiovisual examples from some 53 practitioners, including Eugenio Barba, Tim Etchells, Joan Skinner, Kristin Linklater, and Steve Paxton, Peter Hulton’s “A Digital Essay on Performance”considers performance as a body in operation with imagery and attempts to identify some of its foundational features.
Lisa Mayo of the Kuna and Rappahannock Nations was a founding member of the Native
American women’s feminist theatre group, Spiderwoman Theater. She was a singer,
actor, and playwright who wrote and performed with Spiderwoman Theater for 35
years.
Brewster on her childhood in Jamaica, training at Rose Bruford and her subsequent career, as well as the difficulties of getting work as a black actress and the experiences of her contemporaries.
A film following the street performance Anabasis in Peru. It was an itinerant performance, based on exploiting the connections between the actors and the spectators who they encounter on their way.
Strindberg Laboratory’s “demonstration project” through California
Arts Council’s “Prison Project” involving people who are about to be released
back into society.
Conquest and Prison is a two-part suite of site-specific dance films set
in Grahamstown, South Africa. The two oldest historical sites in Grahamstown are Ft.
Selwyn and the Old Gaol, which imprisoned thousands of black South Africans. The
choreography of Part I "Oscar's Journey" is Oscar Buthelezi's personal response to the
history of colonialism commemorated at Ft. Selwyn. Part II "Child's Play" is similar to
the approach in "Oscar's Journey." "Chorographers Lorin Sookool and Julia Wilson reflect
on the past as the sounds and images of the gaol continue to echo and resonate today.
Zarrilli’s Psychophysical Acting methodology focuses on the relationship between the actor-as-doer and what the actor does. It (re)examines in practice and theory a psychophysical approach to acting.
Videotaped in Kerala, India in 1993 and 1995, this film explains Kathakali's basic make-up types, the context of performance, the process and techniques of training, and performance preliminaries.
Kaash (Hindi word for ‘if’) was created in 2002 by Akram Khan when he was choreographer in residence of the Royal Festival Hall. He teamed up with celebrated talents Anish Kapoor and Nitin Sawhney.
Zarrilli’s Psychophysical Acting methodology focuses on the relationship between the actor-as-doer and what the actor does. It (re)examines in practice and theory a psychophysical approach to acting.
The film is a documentary about the life of a female shaman Kim Keum-hwa, who was shunned for being possessed by spirits as a girl and oppressed for following superstitions as an adult. It depicts how she grows to be a great shaman who embraces the pain of all people, and how she comes to be honoured as a national treasure of Korea because of her outstanding artistic talents throughout Korea’s tumultuous history. The film is based on the autobiography “Bidankkob Neom-Se” by Kim Keum-hwa.
Siddi theatre performers and sisters, Geeta and Girija Siddi, performing in a
two-week festival, Telling Our Stories of Home: Exploring and Celebrating
Changing African & African Diaspora Communities.
A film made by Rekha Tandon’s company, Dance Routes, that begins with a description of Odissi’s background as a temple dance tradition, and an account of its basic form and ornamentation.
Sun, Moon and Feather presents a musical comedy-documentary about three Native American sisters growing up Native in an Italian neighbourhood in Brooklyn during the 1930s and 1940s.
This film documents the work of Iben Nagel Rasmussen (Odin Teatret) with her
international group The Bridge of Winds during a two-week closed work session held
in December 2011.
Malika Ndlovu excavates universal themes of
self-discovery, the claiming of voice for the silenced, personal and social
transformation and the continuous awakening of the human spirit.
‘Each recorded text reveals a paradigm shift and an emotional faultline in my biographical journey to the North and my scary journey to the heart of the US Art World. This is one such audio text.’
‘Each recorded text reveals a paradigm shift and an emotional faultline in my biographical journey to the North and my scary journey to the heart of the US Art World. This is one such audio text.’
‘Each recorded text reveals a paradigm shift and an emotional faultline in my biographical journey to the North and my scary journey to the heart of the US Art World. This is one such audio text.’
‘Each recorded text reveals a paradigm shift and an emotional faultline in my biographical journey to the North and my scary journey to the heart of the US Art World. This is one such audio text.’
‘Each recorded text reveals a paradigm shift and an emotional faultline in my biographical journey to the North and my scary journey to the heart of the US Art World. This is one such audio text.’
‘Each recorded text reveals a paradigm shift and an emotional faultline in my biographical journey to the North and my scary journey to the heart of the US Art World. This is one such audio text.’
‘Each recorded text reveals a paradigm shift and an emotional faultline in my biographical journey to the North and my scary journey to the heart of the US Art World. This is one such audio text.’
‘Each recorded text reveals a paradigm shift and an emotional faultline in my biographical journey to the North and my scary journey to the heart of the US Art World. This is one such audio text.’
‘Each recorded text reveals a paradigm shift and an emotional faultline in my biographical journey to the North and my scary journey to the heart of the US Art World. This is one such audio text.’
‘Each recorded text reveals a paradigm shift and an emotional faultline in my biographical journey to the North and my scary journey to the heart of the US Art World. This is one such audio text.’
‘Each recorded text reveals a paradigm shift and an emotional faultline in my biographical journey to the North and my scary journey to the heart of the US Art World. This is one such audio text.’
‘Each recorded text reveals a paradigm shift and an emotional faultline in my biographical journey to the North and my scary journey to the heart of the US Art World. This is one such audio text.’
‘Each recorded text reveals a paradigm shift and an emotional faultline in my biographical journey to the North and my scary journey to the heart of the US Art World. This is one such audio text.’
Drawing on a half century of documenting performance across multiple genres, from post-modern dance to physical theater to body work, as well as site-specific performance, with audiovisual examples from some 53 practitioners, including Eugenio Barba, Tim Etchells, Joan Skinner, Kristin Linklater, and Steve Paxton, Peter Hulton’s “A Digital Essay on Performance”considers performance as a body in operation with imagery and attempts to identify some of its foundational features.
A six-part series featuring conversations with some of the foremost trainers across
four continents on subjects ranging from the cultural and political to
the professional and pedagogical.
Eugenio Barba created Odin Teatret in Norway in 1964, having worked with Jerzy Grotowski for three years in Poland. Now based in Denmark, its members come from a dozen countries and three continents.
Yvonne Brewster was born in Jamaica in 1938. She set up Jamaica’s first professional theatre company at the Barn Theatre Kingston, and also co-founded the Talawa Theatre Company in the UK, in 1985.
Tadashi Endo is a butoh dancer and teacher. He met Kazuo Ohno in 1989 and has since been deeply influenced by his work. He is founder and director of Germany’s Butoh-Center and Butoh-Festivals MAMU.
Akram Khan is one of the UK’s most acclaimed choreographers. Artistic Director of Akram Khan Company, he creates uncompromising artistic narratives which challenge conventional ideas of form.
Inventor of an influential somatic and performance practice known as ‘Joged Amerta’, Suprapto Suryodarmo has taught and performed in Indonesia, Europe, Australia, the USA and India for over 25 years.
Activism is the intervention of an individual or group, using varied tactics, to disrupt and challenge inequality, and create transformation in the social, political, cultural or economic realm.