In Terms of Performance (2016–)

26 July 2017, dusan

A keywords anthology designed to provoke discovery across artistic disciplines.

In Terms of Performance is designed to generate shared literacies for how we understand the goals, skills, and artistic traditions of experimental interdisciplinary work. Over the past few years we have gathered essays and interviews from key artists, curators, presenters, and scholars whose work reflects on relations among visual art, theatrical, choreographic, and performance art practices. To seed the conversation, we created a list of keywords: common yet contested terms in our current context, when museums are incorporating ever more time-based art forms, theaters are commissioning visual art for their stages, and symposiums try to make sense of how this cross-pollination changes the nature of curating, collecting, producing, authoring, documenting, and commissioning. Some of these keywords are older terms that have been resuscitated and redefined; others have made an appearance only recently. Our goal was not to produce singular definitions nor to commission encyclopedic entries but to share perspectives from distinct locations.”

Terms: Act, Amateur, Character, Choreography, Collecting, Composition, Curating, Documentation, Duration, Ephemerality, Experience Economy, Improvisation, Installation, Live, Media, Narrative, Participation, Performativity, Postdramatic, Poststudio, Prop, Reenactment, Relational, Score, Site, Spectator, Theatricality, Virtuosity.

Edited by Shannon Jackson and Paula Marincola
Publisher Arts Research Center at University of California, Berkeley, and The Pew Center for Arts & Heritage, Philadelphia, 2016

HTML, PDF-on-demand

Out from Under: Texts by Women Performance Artists (1990)

12 July 2017, dusan

“A collection of performance scripts by women performance artists from write their own material – Holly Hughes, Laurie Anderson, Karen Finley, Rachel Rosenthal, Beatrice Roth, Laurie Carlos, Jessica Hagedorn, Robbie McCauley, Leeny Sack, Fiona Templeton and Lenora Champagne. An essential sourcebook for anyone interested in the intersection of feminism and performance art.”

Edited and with an Introduction by Lenora Champagne
Publisher Theatre Communications Group, New York, 1990
ISBN 1559360097
xiv+185 pages


PDF (57 MB, no OCR)

Hans-Thies Lehmann: Postdramatic Theatre (1999–) [PL, EN, BR-PT, SK, RO]

6 May 2015, dusan

“This is a study of the new theatre forms, which has become a key reference point in international discussions of contemporary theatre.

In looking at the developments since the late 1960s, Lehmann considers them in relation to dramatic theory and theatre history, as a response to the emergence of new technologies, and as an historical shift from a text-based culture to a new media age of image and sound.

Engaging with theoreticians of ‘drama’ from Aristotle and Brecht, to Barthes and Schechner, the book analyzes the work of recent experimental theatre practitioners such as Robert Wilson, Tadeusz Kantor, Heiner Müller, the Wooster Group, Needcompany and Societas Raffaello Sanzio.”

First published as Postdramatisches Theater, Verlag der Autoren, Frankfurt am Main, 1999.

English edition
Translated and with an Introduction by Karen Jürs-Munby
Publisher Routledge, London, 2006
x+214 pages

Reviews: Marvin Carlson (Theatre Research International, 2006), Iva Rosanda-Žigo (Fluminensia, 2006, CR), Denise Varney (Performance Paradigm, 2007), Elinor Fuchs (TDR, 2008), Jeanne Wilcoxon (Theatre Topics, 2008).


Teatr postdramatyczny (Polish, trans. Dorota Sajewska & Małgorzata Sugiera, 2004, pp 1-99, 41 MB)
Postdramatic Theatre (English, trans. Karen Jürs-Munby, 2006)
Teatro pós-dramático (BR-Portuguese, trans. Pedro Süssekind, 2007, 38 MB, via)
Postdramatické divadlo (Slovak, trans. Anna Grusková & Elena Diamantová, 2007, 16 MB, via)
Teatrul postdramatic (Romanian, trans. Victor Scoradeţ, 2009)