Trading Brass with Brecht: Towards an Ecorealist Theatre
Trading Brass with Brecht: Towards an Ecorealist Theatre

Towards an Ecorealist Theatre - Brecht, Bacon and the New Age

A paper delivered to the International Brecht Society at the Literaturforum im Brecht-Haus for Baustelle Brecht – Working with Brecht 23 June 2017

https://e-cibs.org/issue-2-2017/#williams

From Radical Conservatism to Radical New Theatre
From Radical Conservatism to Radical New Theatre

An essay on emerging theatre forms for Camden People’s Theatre

Revolution Reloaded
Revolution Reloaded

An essay on the contemporary and historical Russian avant-garde

Commissioned by HOME Manchester for their 2017/18 season Revolution Betrayed

Criticism in a Time of Crisis
Criticism in a Time of Crisis

Manifesto for a new kind of critcism for Critical Stages, the journal of the International Association of Theatre Critics

“Current criticism requires a willingness to learn from artists, directors and curators what new forms art might take. It also needs to recognize how these new forms might shape and respond to culture. It further requires the critic to deploy new strategies to reformat criticism so that it is competent to respond. It is only a criticism that recognizes the emergent art form in itself that can do justice to emergent art forms onstage, in the gallery, and elsewhere.”

Stuart Brisley
Stuart Brisley

Essay on ‘godfather of British performance art’ Stuart Brisley for Aesthetica Magazine

“Brisley describes performance as a departure from this ‘ordinary social self’, and gaining ‘a sense of identity with the audience’ that is neither social, nor intimate: it comes when it comes and fades away, often before the end of the performance, impossible to recapture. This state of identity lasts only as long as the performance: the message transmitted, the portal closes, and social selves are reinstated. His works are not about establishing a direct and intimate relationship with the audience. Rather, he becomes a mirror, reflecting back to the audience the social structures that exist within them and sending them back out into the world to change it.”

A Whole New World: the work of Veronica Brovall
A Whole New World: the work of Veronica Brovall

Essay commissioned by Swedish sculptor by Veronica Brovall

“Brovall's sculptures are born into a wasteland coded with references and stuffed with dead-ends. Rejecting as a trap the invitation to disentangle those them, she cuts them loose and harvests them as material. Necessarily, the materials are familiar, domestic and manufactured. Assembling them, she disengages them from their present forms – tyre, chair, plaster bandage – and the superficial context that holds them there, to elicit their natural origins – oil, metal ore, earth – and reveal a secret geology of experience.”

Trading Brass with Brecht: Towards an Ecorealist Theatre
From Radical Conservatism to Radical New Theatre
Revolution Reloaded
Criticism in a Time of Crisis
Stuart Brisley
A Whole New World: the work of Veronica Brovall
Trading Brass with Brecht: Towards an Ecorealist Theatre

Towards an Ecorealist Theatre - Brecht, Bacon and the New Age

A paper delivered to the International Brecht Society at the Literaturforum im Brecht-Haus for Baustelle Brecht – Working with Brecht 23 June 2017

https://e-cibs.org/issue-2-2017/#williams

From Radical Conservatism to Radical New Theatre

An essay on emerging theatre forms for Camden People’s Theatre

Revolution Reloaded

An essay on the contemporary and historical Russian avant-garde

Commissioned by HOME Manchester for their 2017/18 season Revolution Betrayed

Criticism in a Time of Crisis

Manifesto for a new kind of critcism for Critical Stages, the journal of the International Association of Theatre Critics

“Current criticism requires a willingness to learn from artists, directors and curators what new forms art might take. It also needs to recognize how these new forms might shape and respond to culture. It further requires the critic to deploy new strategies to reformat criticism so that it is competent to respond. It is only a criticism that recognizes the emergent art form in itself that can do justice to emergent art forms onstage, in the gallery, and elsewhere.”

Stuart Brisley

Essay on ‘godfather of British performance art’ Stuart Brisley for Aesthetica Magazine

“Brisley describes performance as a departure from this ‘ordinary social self’, and gaining ‘a sense of identity with the audience’ that is neither social, nor intimate: it comes when it comes and fades away, often before the end of the performance, impossible to recapture. This state of identity lasts only as long as the performance: the message transmitted, the portal closes, and social selves are reinstated. His works are not about establishing a direct and intimate relationship with the audience. Rather, he becomes a mirror, reflecting back to the audience the social structures that exist within them and sending them back out into the world to change it.”

A Whole New World: the work of Veronica Brovall

Essay commissioned by Swedish sculptor by Veronica Brovall

“Brovall's sculptures are born into a wasteland coded with references and stuffed with dead-ends. Rejecting as a trap the invitation to disentangle those them, she cuts them loose and harvests them as material. Necessarily, the materials are familiar, domestic and manufactured. Assembling them, she disengages them from their present forms – tyre, chair, plaster bandage – and the superficial context that holds them there, to elicit their natural origins – oil, metal ore, earth – and reveal a secret geology of experience.”

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