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Performing Viral Pandemics?

Started by aha. Last reply by aha May 11, 2020. 2 Replies

Hi.Hopefully all is well!The shorty is a suggestion to start an online conversation group to elaborate questions from theCovid-19 oriented period and Performance Philosophy?eg. Intra-Active Virome?…Continue

We all have the same dream?

Started by Egemen Kalyon Apr 2, 2020. 0 Replies

Hello, "We all have the same dream" is my project that aims to create an archive from the dreams of our era and reinterpret Jung's "collective unconscious" concepts with performance and performing…Continue

Circus and Its Others 2020, UC Davis CFP

Started by Ante Ursic Mar 15, 2020. 0 Replies

Circus and its Others 2020November 12-15University of California, DavisRevised Proposal Deadline: April 15, 2020Launched in 2014, the Circus and its Others research project explores the ways in which…Continue

Tags: critical, ethnic, queer, performance, animal

Blog Posts

"Further Evidence on the Meaning of Musical Performance" Working Paper

Posted by Phillip Cartwright on January 15, 2020 at 21:28 0 Comments

Karolina Nevoina and I are pleased to announce availability of our working paper, "Further Evidence on the Meaning of Musical Performance". Special thanks to Professor Aaron Williamon and the Royal College of Music, Centre for Performance Science.…

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Division of Labor - Denis Beaubois

Posted by Gabrielle Senza on February 23, 2018 at 0:36 0 Comments

I just came across Denis Beaubois, an Australian multidisciplinary artist whose work, Currency - Division of Labor might be of interest to researchers here.

It is a series of video/performance works that use the division of labor model in capitalism as a structural tool for performance.

From his website:

The Division of labour work explores…

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THEATRE AND AURAL ATTENTION - BOOK LAUNCH

Event Details

THEATRE AND AURAL ATTENTION - BOOK LAUNCH

Time: May 11, 2015 from 7:30pm to 9:15pm
Location: Omnibus, Clapham Common, London.
Street: 1 Clapham Common North Side
City/Town: London SW4 0QW
Website or Map: http://omnibus-clapham.org/ev…
Phone: 020 7498 4699
Event Type: book, launch
Organized By: Omnibus/Palgrave Macmillan
Latest Activity: Apr 19, 2015

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Event Description

Omnibus and Palgrave Macmillan are pleased to announce the launch of a ‘landmark study’ of aural phenomena in theatre, taking place in Clapham, London, on Monday 11th May at 7.30pm.

This free event will include a Q&A with George Home-Cook and a panel discussion.

The question of attention in theatre remains relatively unexplored. In redressing this, ‘Theatre and Aural Attention’ investigates what it is to attend theatre by means of listening. Focusing on four core aural phenomena in theatre – noise, designed sound, silence, and immersion – George Home-Cook concludes that theatrical listening involves paying attention to atmospheres.

MORE INFO:

Theatre and Aural Attention on Palgrave Macmillan’s website: http://www.palgrave.com/page/detail/theatre-and-aural-attention-george-home-cook/?sf1=barcode&st1=9781137393685

REVIEWS:

‘Theatre and Aural Attention is an inspiring model for how one might do performance philosophy now: producing new understandings of 'attention' and 'listening' in and through paying attention to theatre and its sounds (as well as to the process of attending itself). That is, Home-Cook does not just describe but performs attention as a dynamic, embodied and creative act – and in so doing, he provides a welcome corrective to the idea of attention as 'spotlight,' but also the false opposition of attention and distraction. Clear as a bell, Home-Cook's lucid account leads the reader through the 'messy reality' of theatrical listening with a modest authority, promising to make a real contribution to the kinds of thinking we do about and as theatre audiences.'

Laura Cull, University of Surrey, UK

‘This is a brilliant practice-based study of a subject crying out for more attention: how in paying attention as listeners to theatre events we stretch ourselves self-reflexively. Home-Cook writes carefully, quietly, and tactfully, but his reach is wide-ranging, stretching across auditory culture, listening, phenomenology, and theatre studies. He reads often difficult texts with ease, sometimes against the grain, and works through issues and concepts with an ear for what might be most productive aesthetically and phenomenologically for theatrical engagement. Discussing such matters as aurality, atmosphere, attunement, embodiment, enactment, environment, resonance, and sensation, he offers numerous insights into the multiple relations between listening, hearing, attending, and spectating. The lessons to be learnt from this book are profoundly unsettling but essential.'

Anthony Gritten, Royal Academy of Music, UK

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