Performing Architectures offers a coherent introduction to the fields of performance and contemporary architecture, exploring the significance of architecture for performance theory and theatre and performance practice. It maps the diverse relations that exist between these disciplines and demonstrates how their aims, concerns and practices overlap through shared interests in space, action and event. Through a wide range of international examples and contributions from scholars and practitioners, it offers readers an analytical survey of current practices and equips them with the tools for analyzing site-specific and immersive theatre and performance.
The essays in this volume, contributed by leading theorists and practitioners from both disciplines, focus on three key sites of encounter:
* Projects: examines recent trends in architecture for performance;
* Practices: looks at cross-currents in artistic practice, including spatial dramaturgies, performance architectonics and performative architectures; and
* Pedagogies: considers the uses of performance in architectural education and architecture in teaching performance.
The volume provides an essential introduction to the ways in which performance and architecture, as socio-spatial processes and as things made or constructed, operate as generating, shaping and steering forces in understanding and performing the other.
Andrew Filmer is Lecturer in Drama, Theatre and Performance in the Department of Theatre, Film and Television Studies at Aberystwyth University, UK. He is the co-convenor of the FIRT / IFTR Theatre Architecture Working Group.
Mark Taylor-Batty is Associate Professor of Theatre Studies and Deputy Head of School in the School of English at the University of Leeds, UK. His previous publications include
The Theatre of Harold Pinter (Bloomsbury, 2014),
About Pinter: The Playwright and the Work (Faber and Faber, 2005),
Roger Blin: Collaborations and Methodologies (Peter Lang, 2007) and, he co-authored with his wife, Juliette Taylor-Batty,
Samuel Beckett's Waiting for Godot (Continuum, 2009).
JULIET RUFFORD has held research and teaching posts at the Victoria & Albert Museum, and Queen Mary, University of London, UK.
Enoch Brater is the Kenneth T. Rowe Collegiate Professor of Dramatic Literature, Professor of English and Theater at the University of Michigan and the series editor of Methuen Drama's Miller scholarly editions. He has written extensively on the work of Samuel Beckett and Arthur Miller.
Enoch Brater is the Kenneth T. Rowe Collegiate Professor of Dramatic Literature, Professor of English and Theater at the University of Michigan. He is series editor of Methuen Drama's Arthur Miller scholarly editions, and with Mark Taylor-Batty of Methuen Drama's Engage series. He has written extensively on the work of Samuel Beckett and Arthur Miller.
