JEN HARVIE FAIR PLAY PDF

Goltijinn Might it contribute to urban gentrification, What is the quality of participation in contemporary art and performance? Forged from a partnership between a university press and a library, Project MUSE is a trusted part of the academic and scholarly community it serves. Lorraine marked it as to-read Sep 27, To ask other readers questions about Fair Playplease sign up. Art, Performance and Neoliberalism Performance Interventions.

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Part of the Performance Interventions book series PIPI Abstract I was inspired to write this book in response to the recent proliferation of performance and art practices that engage audiences socially — by inviting those audiences to participate, act, work and create together; observe one another; or simply be together. This trend has been growing exponentially since the s in, for example, much public art, immersive theatre, one-to-one theatre, and relational and delegated art.

In performance and theatre, practices of immersing audiences within theatrical worlds and inviting them to participate there are no longer principally confined to their usual manifestations in applied performance contexts such as theatre-in-education.

In sculpture and art installation, audiences are increasingly welcomed to interact with the works at least spatially, and sometimes through touch or more vigorous participation. The enormity and spread of this trend raises questions about why these practices are proliferating, what they say about contemporary culture, what they can actually do for audiences, and what they can offer contemporary social relations. This process is experimental and the keywords may be updated as the learning algorithm improves.

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000-317 PDF

Professor Jen Harvie, BA (McGill), MA (Guelph), PhD (Glasgow)

Part of the Performance Interventions book series PIPI Abstract I was inspired to write this book in response to the recent proliferation of performance and art practices that engage audiences socially — by inviting those audiences to participate, act, work and create together; observe one another; or simply be together. This trend has been growing exponentially since the s in, for example, much public art, immersive theatre, one-to-one theatre, and relational and delegated art. In performance and theatre, practices of immersing audiences within theatrical worlds and inviting them to participate there are no longer principally confined to their usual manifestations in applied performance contexts such as theatre-in-education. In sculpture and art installation, audiences are increasingly welcomed to interact with the works at least spatially, and sometimes through touch or more vigorous participation. The enormity and spread of this trend raises questions about why these practices are proliferating, what they say about contemporary culture, what they can actually do for audiences, and what they can offer contemporary social relations. This process is experimental and the keywords may be updated as the learning algorithm improves. This is a preview of subscription content, log in to check access.

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