Titlebook: Collaboration in Performance Practice; Premises, Workings a Noyale Colin,Stefanie Sachsenmaier Book 2016 The Editor(s) (if applicable) and

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书目名称Collaboration in Performance Practice影响因子(影响力)学科排名




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书目名称Collaboration in Performance Practice网络公开度学科排名




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书目名称Collaboration in Performance Practice被引频次学科排名




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书目名称Collaboration in Performance Practice年度引用学科排名




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书目名称Collaboration in Performance Practice读者反馈学科排名

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Contemporary Collaborations and Cautionary Talesdirection of this paper, and as I began to research its contents, was a growing and rather uneasy sense that the passionate and poetic panegyric I imagined offering in praise of collaboration—based on thirty years engagement with devised theatre practices—was not good enough. Collaboration both as p

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Since Each of Us Was Several: Collaboration in the Context of the Differential Self philosophy of Deleuze and Guattari, and the collaborative work of the US-based performance company Goat Island (1986–2009). Both of these practices are instances of collaborative-thinking; or better, perhaps, I want to suggest that whilst . thinking-practices belong to a process that tends towards

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Collaboration as a Mode of Labour of art could follow the law of value, he did not see it as being productive due to its ‘microscopic significance’ (Marx, 1990: 1044–45). When Marx was developing his theory of value in the second half of the nineteenth century, art could be seen to escape the capitalist logic of labour because of i

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‘Nothing About Us Without Us’: Collaborations between Disabled and Non-Disabled Practitionerscs of collaboration at Middlesex University on 18 May 2013. The conversation was followed, months later, by a brief email exchange, in which further questions were asked, ideas developed and positions clarified. As such, it is itself a collaborative effort—my part being, in a sense, curatorial, tryi

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Positive Negatives: Or the Subtle Arts of Compromisebasis we should be able to conclude that all performance-making collaborations are vital because performance tends to involve the input of a wide range of practitioners, working together. Amongst these practitioners we can list stage, sound and lighting designers, stage managers and many others who