By Johannes H. Birringer
Functionality at the side takes the reader on a trip throughout geographical borders and conceptual obstacles for you to map out the recent territory of up to date theatre, dance, media arts and activism. operating throughout social, cultural and political fault strains, the ebook explores functionality as either strategy and speak to, because the dedication to political activism and the reconstruction of neighborhood, as site-specific intervention into the social and technological buildings of abandonment, and because the hugely charged embodiment of erotic fantasies. functionality at the aspect addresses the politics of community-oriented and reconstructive artmaking in an period marked through the AIDS problem, cultural and racial polarization, war, separatism and xenophobia. Provocatively illustrated with paintings from North and crucial the United States and japanese and Western Europe, the booklet demanding situations our assumptions concerning the kinfolk among media and activism, technological imperatives and social approaches and physically identities and digital groups.
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Additional resources for Performance on the Edge: Transformations of Culture
In the sense in which I emphasize the process of border-work, I imply that its ethics and politics of marginality rely on a continuing, inconclusive praxis of collaboration that does not serve academic or commercial interests and reproducible norms. Recording our performances rarely means distributing them commercially; we have failed to enter the market of world music or pop transculture. If the ‘objects’ of performance in these writings serve any purpose at all, it is to raise questions about their temporary movement-across, their crossings and stumblings, their dissolution and reappearance, their improper and unaccommodated gestures and, sometimes, their abject relationships to the Law.
And yet, the abandoned urban zone of the death strip AFTER THE REVOLUTION is there for our seeing. . Everything is eerily quiet. Like an immense shipwreck, when the gales have been hushed and the sailors have ﬂed and the corpse of the shattered ﬂeet lies on the sandbank unrecognizable, so lies the Berlin border before me, and the forsaken pillars stand there like the bare tree-trunks of a wood that at evening was still and green and, the same night, went up in ﬂames. Can this be reconstructed?
COMPOSERS’ NOTE The chance to work in a new way creating a new deﬁnition of the concept of opera has been always stimulating and at times controversial. Each member of the ensemble and the three composers have been encouraged to be part of the creative process from the very beginning. One of the most exciting aspects of the Orpheus and Eurydike project has been the opportunity to work with composers from very diﬀerent musical worlds. Gwynne Winsberg has composed, sung, and recorded music from the experimental rock music perspective.