Häftad, Engelska, 2016

It's All Allowed

The Performances of Adrian Howells

Av Deirdre Heddon, Dominic Johnson

Del i serien Intellect Live

331 kr

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Beskrivning

Adrian Howells (1962–2014) was one of the world’s leading figures in the field of one-to-one performance practice – the act of staging an event for one audience participant at a time. Developed over more than a decade, Howells’s award-winning work demonstrated not only his enduring commitment to this genre of performance, but also his determination to find new challenges and innovations in performance art, 'intimate theatre' and socially engaged art.It’s All Allowed, edited by Deirdre Heddon and Dominic Johnson, is the first book devoted to Howells’s remarkable achievements and legacy. Contributors here testify to the methodological, thematic and historiographical challenges posed by Howells’ performances. Citing his permissive mantra as its title, It’s All Allowed includes new writing from leading scholars and artists, as well as writing by Howells himself, an extensive interview, scores and visual materials, which together reveal new insight into Howells’s groundbreaking process.

Produktinformation

Utgivningsdatum: 2016-07-15
Mått: 178 x 242 x 26 mm
Vikt: 1 152 g
Format: Häftad
Språk: Engelska
Serie: Intellect Live
Antal sidor: 336
Förlag: Intellect
ISBN: 9781783205899

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Mer om författaren

Deirdre Heddon is professor of contemporary performance practice at the University of Glasgow and the author of numerous books, including Autobiography and Performance. She is also one of the editors of It's All Allowed: The Performances of Adrian Howells, which is part of the Intellect Live series published in collaboration with the Live Arts Development Agency (LADA).Dominic Johnson is a senior lecturer in the Department of Drama at Queen Mary University of London and the editor of Pleading in the Blood: The Art and Performances of Ron Athey and It's All Allowed: The Performances of Adrian Howells.

Recensioner i media

'The judges felt that the collection was an intimate response to Howells’s work, but one that is also a profound meditation on the potential effects of performance itself. Carefully curated with a significant eye to detail, the volume draws together essays written by a diverse selection of contributors who have used a range of forms (critical, impressionistic, interview, etc), but nevertheless sustains a consistency of argument, message, and voice, supported by an introduction which weaves together the different contributions that comprise the volume with new material and extensive references. This labour of love is a critical volume that will be useful to readers; it is also a beautiful object in its own right'.

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