By N. Shaughnessy
This publication attracts upon cognitive and impact conception to ascertain purposes of up to date functionality practices in academic, social and group contexts. The writing is located within the areas among making and function, exploring the approaches of making paintings outlined variously as collaborative, participatory and socially engaged.
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Additional info for Applying Performance: Live Art, Socially Engaged Theatre and Affective Practice
Thus for the practitioner, applying performance in educational and community settings, there are crucial political and ethical questions which need to be addressed concerning who the work is for and what it is intended to achieve. 2 Pasts, Pioneers, Politics Avant-garde and radical theatres The dialogue between the avant-garde (both the historical avant-garde of the early twentieth century and the neo avant-garde of the 1960s and 1970s) and applied modes of performance during the twentieth-century provides the contextual framework for this study, connecting historical and contemporary artists who have a common interest in socialist politics, social activism, audiences, community engagement, marginalized groups and collaborative methodologies.
According to Susan Hurley, one model ‘connects a shared information space for perception and action with a shared information space for self and other, while at the same time illustrating how the distinctions between perception and action, self and other, and possible and actual can be overlaid on these shared information spaces’ (Hurley, 2005: 1). Questions of the self, the construction of identity, the formation of subjectivity and the concept of the ‘other’ are, of course, fundamental to postmodernism, a theoretical discourse which, for better or worse, has informed contemporary performance practices.
The haptic bodies of multimedia performance can be seen to have evolved from Schumann’s puppets: ‘This form of puppet theatre involves the constant juxtaposition of objects and other stage elements (music, spoken text, light) in a multilayered theatrical spectacle both grounded in real political issues … and yet capable of abstract, open-ended meanings’ (Bell, 1998: 39). Above all, however, Schumann’s commitment to explore the possibilities of community performance determined the company’s evolution, and, somewhat ironically, its downfall in terms of the end of the Domestic Resurrection Circus.
Applying Performance: Live Art, Socially Engaged Theatre and Affective Practice by N. Shaughnessy