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Informationen zum Autor Maria Chatzichristodoulou (aka Maria X) is Reader in Performance and New Media, and Head of External Development and Enterprise at the School of Arts and Creative Industries, London South Bank University, where she is also leads on the BA Theatre Technologies. Maria is a curator and community practitioner who has worked in Europe and internationally. She has published extensively and is co-editor of the volumes Intimacy Across Visceral and Digital Performance (2013) and Interfaces of Performance (2009). She is currently working on the monograph Live Arts in Network Cultu res (Palgrave Macmillan, 2018). Maria is Editor in Chief of the International Journal of Performance Arts & Digital Media. Klappentext Since entering the performance lexicon in the 1970s, the term Live Art has been used to describe a diverse but interrelated array of performance practices and approaches. This volume offers a contextual and critical introduction to the scene of contemporary Live Art in Britain. Focusing on key artists whose prolific body of work has been vital to the development of contemporary practice, this collection studies the landscape of Live Art in the UK today and illuminates its origins, as well as particular concerns and aesthetics. The introduction to the volume situates Live Art in relation to other areas of artistic practice and explores the form as a British phenomenon. It considers questions of cultural specificity, financial and institutional support, and social engagement, by tracing the work and impact of key organizations on the UK scene: the Live Art Development Agency, SPILL Festival of Performance and Compass Live Art. Across three sections, leading scholars offer case studies exploring the practice of key artists Tim Etchells, Marisa Carnesky, Marcia Farquhar, Franko B, Martin O'Brien, Oreet Ashery, David Hoyle, Jordan McKenzie, and Cosey Fanni Tutti. Live Art in the UK offers an authoritative, structured survey of contemporary live art practitioners whose practice is both prolific and vital, written by leaders in the field of Live Art and Performance Studies. Zusammenfassung Since entering the performance lexicon in the 1970s, the term Live Art has been used to describe a diverse but interrelated array of performance practices and approaches. This volume offers a contextual and critical introduction to the scene of contemporary Live Art in Britain. Focusing on key artists whose prolific body of work has been vital to the development of contemporary practice, this collection studies the landscape of Live Art in the UK today and illuminates its origins, as well as particular concerns and aesthetics. The introduction to the volume situates Live Art in relation to other areas of artistic practice and explores the form as a British phenomenon. It considers questions of cultural specificity, financial and institutional support, and social engagement, by tracing the work and impact of key organizations on the UK scene: the Live Art Development Agency, SPILL Festival of Performance and Compass Live Art. Across three sections, leading scholars offer case studies exploring the practice of key artists Tim Etchells, Marisa Carnesky, Marcia Farquhar, Franko B, Martin O’Brien, Oreet Ashery, David Hoyle, Jordan McKenzie, and Cosey Fanni Tutti. Inhaltsverzeichnis List of Illustrations Notes on Contributors Acknowledgements Introduction Maria Chatzichristodoullou (London South Bank University, UK) : Live Art in the UK: Shaping a Field Section One: Experiments in Life and in Art · Chapter 1. Sara Jane Bailes (University of Sussex, UK) : ‘All We Have is Words, All We Have is Worlds’ - language, looping and the work of Tim Etchells’ · Chapter 2.Roberta Mock (University of Plymouth, UK): ‘Marisa Carnesky: Showwoman’
