In this volume, twenty-four creators come together with three scholars to discuss Contemporary Circus, bridging the divide between practice and theory. Lavers, Leroux, and Burtt offer conversations across four key themes: Apparatus, Politics, Performers, and New Work. Extensively illustrated with fifty photos of Contemporary Circus productions, and extensively annotated, Contemporary Circus thematically groups and contextualises extracts of conversations to provide a sophisticated and wide-ranging study supported by critical theory. Of interest to both practitioners and scholars, Contemporary Circus uses the lens of ‘contestation,’ or calling things into question, to provide a portal into ways of seeing today’s circus performance. Conversations with: Lachlan Binns and Jascha Boyce (Gravity and Other Myths), Tilde Björfors (Cirkus Cirkör), Kim ‘Busty Beatz’ Bowers (Hot Brown Honey), Shana Carroll (The 7 Fingers), David Clarkson (Stalker), Philippe Decouflé (Compagnie DCA), Fez Faanana (Briefs), Mike Finch (Circus Oz), Daniele Finzi Pasca (Compagnia Finzi Pasca), Sean Gandini (Gandini Juggling), Firenza Guidi (ElanFrantoio, NoFit State Circus), Jo Lancaster and Simon Yates (Acrobat), Johann Le Guillerm (Cirque Ici), Yaron Lifschitz (Circa), Chelsea McGuffin (Company 2), Phia Ménard (Compagnie Non Nova), Jennifer Miller (Circus Amok), Adrien Mondot (Compagnie Adrien M and Claire B), Charlotte Mooney and Tina Koch (Ockham’s Razor), Philippe Petit (high wire artist), and Elizabeth Streb (STREB EXTREME ACTION).
In this volume, twenty-four creators come together with three scholars to discuss Contemporary Circus, bridging the divide between practice and theory. Lavers, Leroux, and Burtt offer conversations across four key themes: Apparatus, Politics, Performers, and New Work. Extensively illustrated with fifty photos of Contemporary Circus productions, and extensively annotated, Contemporary Circus thematically groups and contextualises extracts of conversations to provide a sophisticated and wide-ranging study supported by critical theory. Of interest to both practitioners and scholars, Contemporary Circus uses the lens of ‘contestation,’ or calling things into question, to provide a portal into ways of seeing today’s circus performance. Conversations with: Lachlan Binns and Jascha Boyce (Gravity and Other Myths), Tilde Björfors (Cirkus Cirkör), Kim ‘Busty Beatz’ Bowers (Hot Brown Honey), Shana Carroll (The 7 Fingers), David Clarkson (Stalker), Philippe Decouflé (Compagnie DCA), Fez Faanana (Briefs), Mike Finch (Circus Oz), Daniele Finzi Pasca (Compagnia Finzi Pasca), Sean Gandini (Gandini Juggling), Firenza Guidi (ElanFrantoio, NoFit State Circus), Jo Lancaster and Simon Yates (Acrobat), Johann Le Guillerm (Cirque Ici), Yaron Lifschitz (Circa), Chelsea McGuffin (Company 2), Phia Ménard (Compagnie Non Nova), Jennifer Miller (Circus Amok), Adrien Mondot (Compagnie Adrien M and Claire B), Charlotte Mooney and Tina Koch (Ockham’s Razor), Philippe Petit (high wire artist), and Elizabeth Streb (STREB EXTREME ACTION).
At a time of unprecedented levels of change in the production of building materials and their deployment in construction, better theoretical and historical tools are needed to understand these new developments and how they are altering the practices and concepts of architecture. Building Materials offers a radical rethink of how materials, as they are constituted in architectural practice, are themselves constructed and, in turn, uncovers a vast and neglected resource of architectural writing about materials as they are mobilized in architecture. The book is unique in conceiving architectural specification as a starting point for architectural theory, arguing that how materials are prescribed - through a range of practices from the literal processes of procurement and manufacture to epistemological, contractual, social and economic frameworks - radically alters their potential in architecture. Drawing on the work of French philosopher Gilbert Simondon, as well as close readings of everyday specifications from the 18th to 21st centuries, the book reveals that materials do not pre-exist their shaping or use in the world, but come into being through the processes that constitute them. The book addresses three distinct methods of specification each through the lens of a different material – 'naming' through timber, 'process-based' through concrete, and 'performance specification' through glass – in turn revealing how the process of architectural specification (or 'Preliminary Operations' as Simondon puts it) allows for the development of specific relationships between material and function.
‘Jane Austen and her Readers, 1786–1945’ is a study of the history of reading Jane Austen’s novels. It discusses Austen’s own ideas about books and readers, the uses she makes of her reading, and the aspects of her style that are related to the ways in which she has been read. The volume considers the role of editions and criticism in directing readers’ responses, and presents and analyses a variety of source material related to the ordinary readers who read Austen’s works between 1786 and 1945.
This book explores the ways that council estates have been represented in England across a range of performance forms. Drawing on examples from mainstream, site-specific and resident-led performance works, it considers the political potential of contemporary performance practices concerned with the council estate. Depictions of the council estate are brought into dialogue with global representations of what Chris Richardson and Hans Skott-Myhre call the 'hood', to tease out the specific features of the British context and situate the work globally. Katie Beswick's study provides a timely contribution to the ongoing national and global interest in social housing. As the housing market grows ever more insecure, and estates are charged with political rhetoric, theatre and socially engaged art set or taking place on estates takes on a new potency. Mainstream theatre works examined include Rita, Sue and Bob Too and A State Affair at the Soho Theatre, Port at the National Theatre, and DenMarked at the Battersea Arts Centre. The book also explores the National Youth Theatre's Slick and Roger Hiorns' Seizure, as well as community-based and resident led performances by Fourthland, Jordan McKenzie, Fugitive Images and Jane English.
Katie Oliviero's "Vulnerability Politics: The Uses and Abuses of Precarity in Political Debate" explores the concept of politically vulnerable and unprotected groups in the 21st century. The book addresses such important issues as women's reproductive rights, immigration and marriage equality" --
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