Howell, Anthony (1999) The Analysis of Performance Art: A Guide to its Theory and Practice. Amsterdam, Netherlands Harwood Academic Publishers.

  • I have returned to this book to remind myself of some of the key themes and issues of performance such as notions space, time, chaos, stillness, etc. Whilst Howell does not address ‘social engagement’ itself, I feel that this late 1990’s publication is ‘of it’s time’, and reflects concerns of site, audience and intention. This is also a good book for anyone not sure what ’performance’ is in this context, and needing a bit of background reading.

Kuppers, Petra & Robertson, Gwen. (Ed.) (2007) The Community Performance Reader.

  • A useful teaching resource, covering a range of ‘community’ practices. A pedagogic book – reader for students of performance. Good examples/ case studies.

Shaughnessy, Nicola. (2012) Applying Performance: Live Art, Socially Engaged Theatre and Affective Practice. Basingstoke. Palgrave Macmillan.

  • I’m haven’t read all of this – just dipped in and out of section on ‘place and placing’. The introduction is useful: ‘applied’, joining, connecting, political or pedagogic motivation. It also provides a simple unpacking of terms such as performance, devising, site, etc. The chapter on Practices gives a useful frame for notions of ‘authenticity’, and mediation.

Johnston, Sandra. (2014) Beyond Reasonable Doubt: An Investigation of Doubt, Risk and Testimony Through Performance Art Process in Relation to Systems of Legal Justice. European Studies in Culture and Policy. Vol. 13. Ed: Craith, M. N, & Kockel, U. Zurich & Münster. Lit Verlag.

  • Johnston’s work is firmly located as visual performance art, and yet she writes here about the affect of and context for performance as a process of social engagement, particularly when located in personal, public and political trauma.

Kester, Grant. (2013) Conversation Pieces: Community and Communication in Modern Art.  Berkeley California. University of California Press.

  • Some key art theories, applied to a collection of global examples of arts practice. I used it in discussion on gender, taste and the relationship of class and gender to notions of and the aesthetics of the avant-garde.
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