The Lollapalooza Effect

12/ Reference and Bibliography

artistic context
- movement
  - Pina Bausch: not interested in how people move but what moves them
  - Ruth Zaporah Action Theatre: Improvisation of performance technique
- Celeste Miller, choreographer, solo performer, educator, community arts animator
  - Salt Marsh Suite https://www.celestemiller.com/salt-marsh-suite
  - scenography aesthetics, group movement imitation on crabs/water/mud
- Julia Levai
  - performative eco-system workshop
  - repetitive movements and sound for plant/mushroom growth, storytelling about mushroom
- Sarah Cameron Sunde
  - “36.5 / A Durational Performance with the Sea,” (2013) https://www.36pt5.org
  - documenting the impact of climate change on coastal communities. She invites audiences to engage with pressing global issues in a unique and immersive way.
- Marina Zurkow
  - “Mesocosm (Northumberland, UK),”(2011) https://vimeo.com/36164236?signup=true
  - Zurkow’s work prompts viewers to reflect on the interconnectedness of natural systems and the impact of human activity on the environment.
- Interactive (technology) , audience participation:
  - Gareth White’s Aesthetics of Invitation “The work becomes meaningful through its aesthetic, and this aesthetic – as a collection of propositions about what an artwork is and how to respond to it “
critical context:
- Philosophically conscious, socially active and awake, culturally responsive, etc
- Ruth Zaporah-Action Theatre
Bibliography
- Giannachi, G., Kaye, N. and Shanks, M. (2012) Archaeologies of presence : art, performance and the persistence of being. London: Routledge.
- White, G. (2013) Audience participation in theatre : aesthetics of the invitation. Basingstoke: Palgrave Macmillan.
- Biggin, R. (2017) Immersive theatre and audience experience: space, game and story in the work of Punchdrunk. Basingstoke: Palgrave Macmillan.
- Brayshaw, T, Fenemore, A. Witts, N. (Eds) (2020) Twenty- First Century Performance Reader. Abingdon: Routledge.
- Golberg, R. (2018) Performance Art Now. London: Thames and Hudson
- Esslin, M. (1960) ‘The Theatre of the Absurd’, The Tulane Drama Review, 4(4), pp. 3-15. doi:10.2307/1124873.
- PAINTING AFTER PERFORMANCE, Tate (n.d.). A Bigger Splash: Painting after Performance | Tate Modern. [online] Tate. Available at: https://www.tate.org.uk/whats-on/tate-modern/bigger-splash-painting-after-performance [Accessed 30 April. 2024].
- Nagel, T. (1974). What Is It like to Be a Bat? The Philosophical Review, [online] 83(4), pp.435–450. doi:https://doi.org/10.2307/2183914. An analytical article on the experience of biological activity through an animal’s point of view.
- Skrobak, M. (2017). The Secret Language Of Trees. Fulton Books, Inc. A context on biological activity of plants, their intelligence
- Tsing, A.L. (2015). The Mushroom At The End Of The World: On The Possibility Of Life In Capitalist Ruins. Princeton: Princeton University Press. A discourse of contemporary social issues through a media of mushroom
- Schechner, R. (1973). Environmental theater. New York, Hawthorn Books. Context on our theatre form, on heighten the audience awareness of theatre by eliminating the distinction between the audience’s and the actors’ space.
- Montironi, M. E. (2020). The Soundscape of Ophelias Zimmer / Ophelia’s Room. Linguae &, 19(1). It shows the performance how to create a sound landscape，and this show also use the water element in the set design