The Twenty-First Century Performance Reader
- Submitting institution
-
The University of Leeds
: B - Performance and Cultural Industries
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies : B - Performance and Cultural Industries
- Output identifier
- UOA33B-1902
- Type
- B - Edited book
- DOI
-
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- Publisher
- Routledge
- ISBN
- 9781138785342
- Open access status
- Out of scope for open access requirements
- Month of publication
- July
- Year of publication
- 2019
- URL
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- Supplementary information
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- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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2
- Research group(s)
-
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- The Twenty First Century Performance Reader is the follow-on text from The Twentieth Century Performance Reader (Brayshaw and Witts), a key introductory text to performance studies for over 20 years since it was first published in 1996. The C21st Reader includes extracts from over 70 international practitioners, companies, collectives and makers from the fields of Dance, Theatre, Music, Live and Performance Art and Activism. Co-edited by Brayshaw, Witts and Fenemore, the latter was invited to join the team to lead the shift into the twenty-first century, profiling less well-known, emerging, radical, new work. Fenemore commissioned 31 new artist writings (working closely with the artists on the development of their writings). The new work profiles a range of written forms – scholarly, academic, creative, interviews, diary entries, autobiographical, polemical and visual.
The Reader asks the following research questions: How might the practice of contemporary performance makers across the world at the beginning of this century be viewed as a single performance culture? What are the recurring themes, insights, working-practices, contexts that contribute to the development of said culture? What are the common languages/vocabularies/rhetorics of those artists ‘making’ and ‘writing about’ their practice?
As well as writing the introduction, and commissioning the new artist writings, the complicated process of editing this large collection was led by Fenemore who created the short-list of artists for inclusion (from a long-list developed by all co-editors) and then maintained dialogue with those artists throughout the project. Fenemore also worked closely with 11 artists to edit already published and/or performed writings, secured permissions from artists and publishers (with Witts) and compiled the ‘In Dialogue’ section of the reader (with Brayshaw). Fenemore also had sole responsibility for the copyediting and proofreading.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
