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Gendered agency in adaptations of Come and Go and Happy Days
Katherine Weiss

staged a site-specific Come and Go which the company readapted for an off-off-Broadway auditorium. Like Lee Breuer of Mabou Mines, Patricia Rozema's film from 2001 and Arlene Shechet's performance art of 2018 produced and staged their Happy Days in site-specific locations. These adaptations manage to blur the borders of what is Beckett and what is theatre by exploring the gaze in his work, and in doing so the audience finds themselves looking at the way they look at Beckett's women. Beckett scholar and director Nicholas Johnson has stated that

in Beckett’s afterlives
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Moving from trauma to witness in the nightmares of Bronx Gothic
Carolyn Chernoff
Kristen Shahverdian

( Boston : Houghton Mifflin ). Oliver , Kelly ( 2001 ), Witnessing: Beyond Recognition ( Minneapolis : University of Minnesota Press ). Oliver , Sophie Anne ( 2010 ), ‘ Trauma, Bodies, and Performance Art: Towards an Embodied Ethics of Seeing

in Dreams and atrocity
Peter Barry

about the project which resulted from the Cadair Idris experience, I thought it involved finding erratics and restoring them to their motherbeds, that is reversing their glacial migrations, and taking them home. That would have had an emotional logic, and seemed fitting, but perhaps a bit too nice and too logical. The actual project involves helping erratics to ‘fare well’, that is, taking them even further away from their motherbeds. They travel in a suitcase with Hallett on planes and trains, in what is essentially a combined form of land art and performance art

in Extending ecocriticism
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Public unhappiness and theatrical scapegoats
Stephen Greer

through that lens, Australian performer Adrienne Truscott’s award-​winning show Asking for It:  A One-​Lady Rape About Comedy Starring Her Pussy and Little Else (2013) describes a challenge to the framing of women’s ‘responsibility’ for their bodies as a simple matter of common sense in which the ability to exercise such responsibility is always within reach, without constraint or consequence. Better known as one half of New  York act The Wau Wau Sisters whose work straddles burlesque and performance art, Truscott’s debut hour of comedy interrogated the rise of rape

in Queer exceptions
The transgressive zine culture of industrial music in the 1970s and 1980s
Benjamin Bland

stems chiefly from the band’s own independent record label: Industrial Records. Officially ‘activated’ on 3 September 1975 (a date specifically chosen to match the anniversary of Britain’s entry into the Second World War), this Hackney-based quartet evolved out of the controversial performance art collective COUM Transmissions.5 TG’s most prominent early performance, in fact, took place at the Institute of Contemporary Arts during COUM’s Prostitution exhibition in October 1976. The moral panic created by this event – and specifically its overwhelming focus on

in Ripped, torn and cut
Abigail Susik

Experimentalisms in Practice: Music Perspectives from Latin America , edited by Ana R. Alonso-Minutti et al., 189–226 . Oxford : Oxford University Press , 2018 . Bustamante , Maris . ‘ Conditions, Roads, Genealogies of Mexican Conceptualisms, 1921–1993 ’. In Arte ≠ Vida: Actions by Artists of the Americas 1960–2000 , edited by Deborah Cullen , 134–51 . New York : El Museo del Barrio , 2008 . —— . ‘ Non-Objective Arts in Mexico, 1963–83 ’. In Corpus Delicti: Performance Art of the Americas , edited by Coco Fusco , 225–39 . New York

in Surrealism and film after 1945
Musicking in social space
Nick Crossley

(status-homophilous) interactions. Lady Gaga may be enjoyed for her dancefloor bangers or her performance art, for example. It is a matter of how audiences approach and appreciate music; what they listen for; how they use music; the critical tools they bring to bear (or don't). Linking to Danto ( 1964 ) and Fish ( 1980 ), it is a matter of interpretive conventions oriented to background knowledge and assumptions (see Chapter 2 ). And linking to Peirce ( 1991 ), it is a matter of shared associations which bestow semiotic meaning (see Chapter 6 ). In all cases, the

in Connecting sounds
UK artists’ film on television
A. L. Rees

Partridge, Ridley approached TV from a quite different angle, in a context of live and performance art rather than cinema, and above all of video rather than celluloid. Post-modern from the start, her Annalogue productions sidestepped film language to focus on the electronic image. This began a decade earlier with the Arena: Video Art Special programme (tx. 1976, BBC2), conceived by Ridley and produced by Mark Kidel. A survey of the field internationally, it featured Hall’s This is a Television Receiver, in which the newsreader Richard Baker recites a text about his own

in Experimental British television
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Victoria Best
Martin Crowley

participation of both producer and consumer in the creation of meaning, as for example in its tendency to embrace the ‘happening’ or ‘performance’ as its privileged form. We can identify another link to the pornographic here, which references more clearly than most other cultural codes the real presence of the performer (which is exactly what is meant by the term ‘performance’ in ‘performance art’: on this, see Williams 2001 ), and

in The new pornographies
Sarah Atkinson
Helen W. Kennedy

about LV and its maverick founder reported that ‘Roy and his gang created an entire culture that's around us today in cabaret, performance art and music’. 26 Debs Armstrong, LV producer from 2002 to 2005, said ‘it was the breaking down audience/performer boundaries that had so much influence on SC, Shunt and Punchdrunk, and everything else that's out there now’. 27 When Gurvitz resigned from the festival in 2008, Armstrong was asked to programme the three fields of ‘the

in Secret Cinema and the immersive experience economy