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Lepage and Ex Machina’s futures
Karen Fricker

represents himself, with dark humour, as obsessed with his prerecorded Radio-Canada obituary, which he obtains and listens to on headphones, so that the audience cannot hear to what Lepage is (unhappily) reacting (see figure 2.4). It is a powerful representation of the desire to control how one is remembered, and also reflects the recognition that some of this is out of our hands. Some­– ­but not all: in this mature phase of his career Lepage and Ex Machina are channelling energies into the sustainability of their creative and business interests. As they do so, they have

in Robert Lepage’s original stage productions
Abstract only
Sharon Lubkemann Allen

EccentriCities Introduction Introduction Every work of genius slants the rational plane, or so claim twentiethcentury writers as disparate in style and distant in setting as Mário de Andrade and Vladimir Nabokov, re-casting creative consciousness in their respectively ‘hallucinated’ cities of São Paulo and St. Petersburg.1 While these writers eccentrically reconfigure and relocate creative consciousness in citytexts marked by peculiarly modern tempos and marginocentric topographies, they also recuperate an ancient association between art, alienation and

in EccentriCities
Megan Cavell and Jennifer Neville

about creative translation. Creative translation may indeed be seen as a comparative approach in its own right—one that insists on the coming together of two different cultural moments to create a new piece of art. The translation of early medieval English literature has a long legacy, and translation of the riddles in particular has played a prominent role. The past ten years have witnessed a creative renaissance, including volumes that bring multiple poets together in a communal translation project, those that focus our attention on individual collections which

in Riddles at work in the early medieval tradition
Orian Brook, Dave O’Brien, and Mark Taylor

publishes figures outlining the economic performance of creative industries. The most recent figures, 1 for 2017, suggested creative industries as a whole were contributing over £100 billion to the economy, with remarkable growth since 2010. The cultural sector, as a distinctive part of the creative economy, contributed almost £30 billion. While there are complexities underpinning the relationship between individual firms’ profitability, workers’ wages, and overall contribution to the economy, it is fair to say there is money to be made by making culture. Yet this does

in Culture is bad for you
Open Access (free)
Continuous theatre for a creative city
David Calder

4 Resurfacing: continuous theatre for a creative city On 3 July 1987, ten thousand spectators looked on as the Bougainville, last ship to be built in Nantes, slipped into the Loire. A spectacular feat: a hull 113 metres in length had to enter a portion of the estuary just 150 metres wide. The crowd gathered on the Loire’s northern bank along the Quai de la Fosse, once home to shipbuilding activity itself but by that time a stretch of cafés and bars frequented by Nantes’ working classes. It was early evening, the hour for an aperitif among friends, but the

in Street theatre and the production of postindustrial space
Learning citizenship playfully at university
Astrid von Kotze and Janet Small

, others wanted to ensure that the political message was unambiguous and strong, arguing that the world is divided and unequal and people have the responsibility to do something about it. At the end of the session students presented their artefacts through speeches or theatrical presentations. And in the final evaluation they commented on the experience itself, expressing surprise at the task but also acknowledging that the creative collective work was a welcome extension and change from the usual individual, competitive work expected of them at university: The event

in Lifelong learning, the arts and community cultural engagement in the contemporary university
Churnjeet Mahn, Sarita Malik, Michael Pierse, and Ben Rogaly

How can we maintain hope for a more equal world? In this chapter we outline the theory and practice that undergirded our solidarity in the project. The chapter contains some of the readings, the references, the routes, that we all brought to the project to understand how creative forms of resistance have responded to hostile environments, and why. We begin by revisiting bell hooks’ work on ‘radical openness’, not to be confused with the United Nations’ adoption of radical openness as a template for transparent working and resilience. Indeed

in Creativity and resistance in a hostile world
Henri Bergson, psychical research, and the contemporary uses of vitalism
Justin Sausman

vitalist forces. The most prominent vitalist theory of the period was Henri Bergson’s élan vital, as discussed in his Creative Evolution of 1907 16 Machine-Ghost.indb 16 6/12/2013 12:11:22 PM Bergson, psychical research, and vitalism  17 (English translation 1911). As Sanford Schwartz has noted, Bergson’s influence spread ‘to artists, scientists, theologians, and, at the peak of his fame, to educated society in general’.3 Yet if Bergson’s influence is more readily associated with modernism than with spiritualism, he did also become a cause célèbre for psychical

in The machine and the ghost
Abstract only
Creativity and resistance in a hostile world
Sarita Malik, Churnjeet Mahn, Michael Pierse, and Ben Rogaly

Writing this in the midst of the UK's exit from the EU (31 January 2020), we find ourselves at the threshold of a different Britain. When we began work on the Creative Interruptions project in 2014, we couldn't have imagined that by the time we came to write this book we would have witnessed three UK general elections (2015, 2017 and 2019) and two referendums (Scottish independence in 2014; EU referendum in 2016). We didn't plan or factor in alongside our work on the project, which incorporates research on anti-racist activism and advocating

in Creativity and resistance in a hostile world
Open Access (free)
Translating globalised knowledge in performance
Simon Parry

5 Commoning sense: translating globalised knowledge in performance Some time in 2006 when I worked at the Wellcome Trust, I remember being contacted by Matthew Walters, a young creative producer working in the Handsworth area of Birmingham (UK). He reported on a successful first meeting between a group of grime MCs and dermatologists at the local hospital. I remember this moment as, for some reason, the meeting between grime MCs and dermatologists seemed to exemplify a pioneering and important act of boundary-crossing. It was notable or unusual because of the

in Science in performance