Andrew Quick – författare

This ground-breaking book addresses transformations in the understanding of time and the generation and degeneration of value at the cutting edge of modernity and postmodernity.

Theatricality and the Arts presents a series of investigations of the notion of 'theatricality'. Primarily, theatricality concerns that which pertains to theatre, but the term has always carried with it the potentially pejorative associations of exaggeration and fakery. The essays here question and contest such associations. The book is divided into four sections which together provide a comprehensive interrogation of theatricality. The four sections begin with multimedia, where theatricality is examined in relation to mixed modes of media (internet art, painting, performance and digital display). A second section takes a philosophical approach to questions of theatricality. A third section looks at art, broadly speaking, but also at the historical contexts of art, photography and other media (literature, film, music). A final section features reflections on theatre and cinema, often in conjunction. Considered as a whole, the collection contributes to debates on theatricality in various fields, while also enabling a cross-examination of approaches to the topic.

Theatricality and the Arts presents a series of investigations of the notion of 'theatricality'. Primarily, theatricality concerns that which pertains to theatre, but the term has always carried with it the potentially pejorative associations of exaggeration and fakery. The essays here question and contest such associations. The book is divided into four sections which together provide a comprehensive interrogation of theatricality. The four sections begin with multimedia, where theatricality is examined in relation to mixed modes of media (internet art, painting, performance and digital display). A second section takes a philosophical approach to questions of theatricality. A third section looks at art, broadly speaking, but also at the historical contexts of art, photography and other media (literature, film, music). A final section features reflections on theatre and cinema, often in conjunction. Considered as a whole, the collection contributes to debates on theatricality in various fields, while also enabling a cross-examination of approaches to the topic.

First published in 2001. Routledge is an imprint of Taylor & Francis, an informa company.

The Wooster Group has consistently challenged audiences and critics alike with their extraordinary performance works, many of which are now recognised as `classics’ of the contemporary stage. The Wooster Group Work Book accesses, often for the first time, the company’s rehearsal methods and source materials, as well as the creative thinking and reflections of director Elizabeth LeCompte and her main artistic collaborators. Focusing on six performance pieces, Frank Dell’s the Temptation of St. Antony (1987), Brace Up! (1990), Fish Story (1994), House/Lights (1999) and To You, the Birdie! (Phèdre) (2002), this new volume gathers together an astonishing range of archival material to produce a vivid and personal account of how the company makes its work. This book’s intricate layering of journal extracts, actors’ notes, stage designs, drawings, performance texts, rehearsal transcriptions, stage-managers’ logs and stunning photographs traces a unique documentary path across the practice of the Wooster Group, one that will be an indispensable resource for all those with an interest in contemporary performance and its impact on contemporary culture.Highly accessible to the student, scholar, theatre-goer and practitioner, and including three contextualizing essays by Andrew Quick, this book offers a series of remarkable insights into the working practices of one of the world’s leading performance companies.