... Deutschland 2—Berlin Back Up (2002), which restages a German parliamentary debate. She discusses the role of participation and spectatorship in such reenactments, arguing that these performance pieces embody new ways of thinking about history and politics. © 2010 by Yale School of Drama/Yale Repertory...

...Michael Rohd © 2013 by Michael Rohd 2013 On the Table, Riverside parking lot in Oregon City, 2010. Photo: Courtesy of Sojourn Theatre Michael Rohd Artist’s Notebook Civic Participation Language In a field like theater, in a sector like the arts, words can act...

... describes current and emerging trends in Latinx theater across the Americas as expressed over the course of two panel discussions and among small-group participants. Recounting how these geographically diverse conveners responded to questions concerning Latinx aesthetics, political activism, funding...

...Erin Manning Erin Manning, a participant in goat island archive—we have discovered the performance by making it , suggests the concept of “anarchive” as a new approach to understanding the archive. She argues that the anarchival “follow[s] the logic not of originality or wholeness, but of emergent...

..., translated with miraculous speed and stamina. The participants are Amina Begovic (Alcestis 2 in Alkestis); Izudin Bajrovic (Hercules in Alkestis, Vladimir in Waiting for Godot); Sead Bejtovic (Admetus and the second Vladimir); Admir Glamocak (the second Death in Alkestis, Lucky); Mirza Halilovic (composer...

...Paul McKinley The scenario: A Thursday night, very late. An online chat forum on Utopia and theater. As usual, there are many silent viewers lurking, invisibly watching the participants' comments scroll by, adding to the discussion here and there. The SysOp – or system operator, who acts...

... the responsibilities and intimacies of spectatorship, asking “What does it mean to watch dance-based movement, aesthetically, ethically, politically?” contemporary dance audience participation spectatorship ethics site-specific Chicago Links Hall Copyright © 2018 Yale School of Drama/Yale Repertory...

... stalking — demand our participation as citizens in the digital age, asking us to main- tain certain standards of safety, mobility, communication, and, perhaps most of all, capitalist consumption. The structure of motivation is not particularly complex: if we participate, we get rewarded. Or we avoid...

... of it? And where to place such performance on the continuum between the culture industry and cultural resistance? Surely such ques- tions require a full stocktaking of the huge variety of such work being produced, and Bishop’s 2012 book Artificial Hells provides an invaluably broad survey of participation...

... the civil rights era, if there were to be black venues that demonstrated black participation in American cultural life, they would be led by African American admin- istrators who participated in the (larger, white) art scene as best they could. This sort...

... to be in Paris, a new May ’68 without the himself went to a communal farm in 1928, and participated in ac- tension.” tivities ranging from farming to the writing of wall posters. Gatti French theater, like much of French culturai life, has not been...

...; “Down the Rabbit Hole,” a treasure hunt where participants, starting from the Artisans’ Gate in Central Park, followed several clues and wound up at a warehouse party in Astoria; a festival of new plays inspired by Antonin Artaud; and an outdoor reenactment of the assassination...

..., who in turn use viral social networks to multiply their numbers. Both organizers and participants document and promote their activities online, so performances that flash into being for a few short minutes in a particular place often continue to flash on Theater 40:3  doi 10.1215/01610775...

... of the theatre is the notion of a “total theatri- connotations, the total spectrum of theatrical cal field” comprising related activities and forms, events ranging from participation in playing to ob- each having a validity in its own right, but subject to servation of the pluy can still be seen...

... Cooper. Theater 31.3-05 Green.V2.sh 10/16/01 11:21 AM Page 47 Sharon Green Boal and Beyond Strategies for Creating Community Dialogue In 1991 I participated in a series of workshops with Augusto Boal in New York...

... Cooper. Theater 31.3-05 Green.V2.sh 10/16/01 11:21 AM Page 47 Sharon Green Boal and Beyond Strategies for Creating Community Dialogue In 1991 I participated in a series of workshops with Augusto Boal in New York...

... Cooper. Theater 31.3-05 Green.V2.sh 10/16/01 11:21 AM Page 47 Sharon Green Boal and Beyond Strategies for Creating Community Dialogue In 1991 I participated in a series of workshops with Augusto Boal in New York...

... thus combat and the beauty of Elizabethan dance. We become enabling participants to bring Shakespeare alive for the performers, presenting our scenes; we learn how to students in their classrooms." The Summer Institute has breathe, move, live and speak Shakespeare. We no longer been...

... and their indifference solution. The problem and the solution and Peru before political circumstances to the poverty in the rural areas - Sircar were then enacted and the spectators (who forced him to seek asylum in Portugal. himself has conducted workshops for were also the participants) were asked...

...Robert Quillen Camp; Gavin Kroeber © 2014 Adaptation by Robert Quillen Camp and Gavin Kroeber, with permission of participating artists. All rights reserved. No part of this publication may lawfully be reproduced in any form or by any means, electronic, or mechanical, including photocopying...