... a nation- on new translations, especially those BOOK REVIEW Spaces, Gestures, objects, Light 1989) after his untimely death, and produce widely evocative effects from and Wotds: The Hags of Bernard- that thanks only to the arrival of an the most basic elements of voice and Marie Kolth...

... proposes decolonized curation as the imaginative affirmation of a wholly new collective sociability and finds a model for these relations in the notoriously “difficult to curate” art of Lygia Clark. As “wild things,” rather than objects of art, the works of Clark escape the colonized art system, offend...

... permanent stance that the theater can provide a vessel for transformation, bringing altered consciousness and maybe a better society.” Tracing this history, Sellar illuminates how Theater , as a journal and a reflection of its object of inquiry, has responded to the evolving idea of a public — a sphere...

... meters continue in this Spectacle, and I would (24 the night I attended). It utilizes his usual like to add several terms to reinforce and ex- props, a suitcase (2 for thi: Spectacle) with tend them. diverse objects and a folding...

... (The 2 THE WORLD IN A BOX - In camp inmates that to survive, to maintain Erotic) is performed in a plainly lit loft creating his world with the objects from a any sense of integrity, they had to know space opposite three banked rows of seats box (suitcase), with compartments...

... and historical period. Doubters need only turn to Eileen Blumen- thal’s new book, Puppetry: A World History, to find examples of object manipulation of every kind, from ancient times to the present, from Iceland to the Ivory Coast and 3 beyond. In the vast offerings at Charleville, however...

... culture and historical period. Doubters need only turn to Eileen Blumen- thal’s new book, Puppetry: A World History, to find examples of object manipulation of every kind, from ancient times to the present, from Iceland to the Ivory Coast and 3 beyond. In the vast offerings at Charleville...

... and thoughts are real. A whole, real uncle. Even your leggings are real, and the buttons and your words. Real words! -Tadeusz Rosewicz, The Curd Index W. David Hancock makes a theater of objects. Not objects like those that lead us back to the world of the theater, such as the toy swords in Stuart...

... of contradiction in this attention to the corporeal presence painting.” The presence that art reveals The Shape of Paradox: An Essay on of the theater object: a pleasure that is is not a reference elsewhere to a pair of Waitingfor Godot (1978).where he says rooted in this expanded sense.of em- shoes...

... with fluid edges. But the artists and projects in this issue — otherwise unthemed — are expanding and redefining its essential properties. The Danish per- formance maker Mårten Spångberg offers true object lessons in perception and dura- tion, challenging the mechanisms of spectating. The resourceful...

... with fluid edges. But the artists and projects in this issue — otherwise unthemed — are expanding and redefining its essential properties. The Danish per- formance maker Mårten Spångberg offers true object lessons in perception and dura- tion, challenging the mechanisms of spectating. The resourceful...

...Jacob Gallagher-Ross © 2014 by Jacob Gallagher-Ross 2014 Rituals of Rented Island: Object Theater, Loft Performance, and the New Psychodrama Whitney Museum of American Art New York City, October 31, 2013-February 2, 2014 Rituals of Rented Island Edited by Jay Sanders, with J...

... remains unexplored in Wilson’s ornate rendition. in a white, mermaid-like gown, encircling the man, who, dressed in an austere black cassock, clutches the book of the story. When she seeks 11. One Hundred Objects to Represent the World repose in statuary stillness, he...

... character, setting, language and specifically. Visual theater is clearly in the Marranca remarks that “the tableaux movement. Actors do not create mainstream tradition of avant garde function as objects in a cubist space, very “roles.” They function instead as theater, with antecedents...

... “rationalization” of what happened. The actor discovers things chapter about the death of a writer - he, him@ And he had the when he adventures to feel emotions in given circumstances. objectivity to tell his secretary on what pages in which novel and in There are extreme cases. In her role of Blanche...

..., and Basil Twist combine a variety of types of performing objects along with other forms of media in a single show. In regard to their works, perfor- mance analysis engages less with the discrete issue of how puppet performers differ from human ones than with the more significant question of how each...

... on many occasions, especially when contemplating con- temporary productions that incorporate various styles of puppetry. Artists like Julie Taymor, Ping Chong, and Basil Twist combine a variety of types of performing objects along with other forms of media in a single show. In regard to their works...

... her eyes. This is key to Quesne’s vision of community: that the audience and Isabelle experience the onstage world together, in real time. As Quesne has observed: “Isabelle is really another object in the show. It’s as if the spectator has a remote control and directs Isa- belle around...

..., Norris forcefully bit down on the metal object, at once evincing strength and anguish and producing blood and tears. The artist then proceeded to turn to the museum’s strikingly bare corner wall and to color it methodically using only her body and the fluids it produced. As she dotted the wall...

..., the imagination. We want to eat aU the other objects of desire. The beautiful is that which we desire without wishing to eat it. -Simone Weil, Gravity and Grace I. Classitsism, Modernism; Post-Modernism. tf Marshalt McLuhan...