Built around a diverse selection of writings from leading researcher-practitioners and emerging artists, The Creative Critic: Writing as/about Practice celebrates the range of possibilities available when writing about one's own work. It re-thinks the conventions of scholarly output to propose that critical writing be understood as an integral part of the artistic process, and even as artwork in its own right.
Built around a diverse selection of writings from leading researcher-practitioners and emerging artists, The Creative Critic: Writing as/about Practice celebrates the range of possibilities available when writing about one's own work. It re-thinks the conventions of scholarly output to propose that critical writing be understood as an integral part of the artistic process, and even as artwork in its own right.
Katja Hilevaara is a collaborative artist, researcher and teacher who works in performance, installation and art-writing. Her research is concerned with (mis-) remembering, creative constraint and ideas surrounding maintenance, care and enchantment. She lectures at Goldsmiths, University of London, UK. www.katjahilevaara.com Emily Orley is a practitioner-researcher whose work includes performance, installation and art- (or place- or commemorative-) writing. She has been making work on her own and in collaboration for 17 years and currently lectures at the University of Roehampton, UK in the Drama, Theatre and Performance Department. www.emilyorley.com
Inhaltsangabe
Foreword Jane Rendell Introduction Orley and Hilevaara Section One: Manifesto (How) I Am for an Art Writing Susannah Thompson Lyric Theory PA Skantze Notitia, Trust, and Creative Research Iain Biggs Writing Without Writing: Conversation as Material Emma Cocker The Distracted Cyclist G D White Footnoting Performance Mike Pearson An extract from Asara and the Sea-Monstress: a Play with Theory Mojisola Adebayo Same Difference Nic Conibere Critical groundlessness: Reflections on embodiment, virtuality and Quizoola LIVE Diana Damian Martin A Conjuring Act in The Form of an Interview Augusto Corrieri Yoko Ono Fanfiction owko69 (Owen G. Parry) A Fugue State of Theatre Joe Kelleher Writing with fungi, contagious Taru Elfving Middleword One Peter Jaeger Section Two: Position (Where) The Blind & Deaf Highway Woman Undine Sellbach and Stephen Loo Writing about the Sound of Unicorns Salome Voegelin Far Stretch - Listening to Sound Happening Ella Finer Instructions for Literature and Life: Writing-With Landscape Performances of Joy Helene Frichot Thirteen Points, Expanded Kristen Kreider and James O'Leary Returning in the House of Democracy Brigid McLeer Dancing Architecture: Architect-Walking Cathy Turner Dolphin Square to MI6 Walk - produced by Disappearing, almost Phil Smith It Moves: reflections on walking as a practice of writing Mary Paterson In departures, not departing Tim Etchells Within the margarine of error: on performing Michael Basinski's 'The Germ of Creativity' Chris Goode Elfie und Elsinore (fur Heidi) Hayley Newman Marking a Life Mitch Rose Middleword Two Maria Fusco Section Three: Beside-ness (Whom) Stains & Other Traces: Notebooks and Critical Practice Simon Piasecki An Actor's Attempt at Sisyphus' Stone: Memory, Performance and Archetype Goze Saner 81 Sentences for Squat Theater circa 1981 Lin Hixson and Matthew Goulish Language, Lips and Legacy: a pedlar's life for me Tracy McKenna A Series of Continuous Accidents Rajni Shah The Construction of Self(ies) Joanne 'Bob' Whalley & Lee Miller The Path on the Floor and Other Uses of Hand-drawing Karen Christopher Searching for the 'bandaged place' Louise Tondeur The Catalogue for the Public Library of Private Acts Johanna Linsley Field Notes from a Choreographic Practice Lucy Cash K.Bae.Tré Douglas Kearney Middleword Three Timothy Matthews Afterword Jane Rendell
Foreword Jane Rendell Introduction Orley and Hilevaara Section One: Manifesto (How) I Am for an Art Writing Susannah Thompson Lyric Theory PA Skantze Notitia, Trust, and Creative Research Iain Biggs Writing Without Writing: Conversation as Material Emma Cocker The Distracted Cyclist G D White Footnoting Performance Mike Pearson An extract from Asara and the Sea-Monstress: a Play with Theory Mojisola Adebayo Same Difference Nic Conibere Critical groundlessness: Reflections on embodiment, virtuality and Quizoola LIVE Diana Damian Martin A Conjuring Act in The Form of an Interview Augusto Corrieri Yoko Ono Fanfiction owko69 (Owen G. Parry) A Fugue State of Theatre Joe Kelleher Writing with fungi, contagious Taru Elfving Middleword One Peter Jaeger Section Two: Position (Where) The Blind & Deaf Highway Woman Undine Sellbach and Stephen Loo Writing about the Sound of Unicorns Salome Voegelin Far Stretch - Listening to Sound Happening Ella Finer Instructions for Literature and Life: Writing-With Landscape Performances of Joy Helene Frichot Thirteen Points, Expanded Kristen Kreider and James O'Leary Returning in the House of Democracy Brigid McLeer Dancing Architecture: Architect-Walking Cathy Turner Dolphin Square to MI6 Walk - produced by Disappearing, almost Phil Smith It Moves: reflections on walking as a practice of writing Mary Paterson In departures, not departing Tim Etchells Within the margarine of error: on performing Michael Basinski's 'The Germ of Creativity' Chris Goode Elfie und Elsinore (fur Heidi) Hayley Newman Marking a Life Mitch Rose Middleword Two Maria Fusco Section Three: Beside-ness (Whom) Stains & Other Traces: Notebooks and Critical Practice Simon Piasecki An Actor's Attempt at Sisyphus' Stone: Memory, Performance and Archetype Goze Saner 81 Sentences for Squat Theater circa 1981 Lin Hixson and Matthew Goulish Language, Lips and Legacy: a pedlar's life for me Tracy McKenna A Series of Continuous Accidents Rajni Shah The Construction of Self(ies) Joanne 'Bob' Whalley & Lee Miller The Path on the Floor and Other Uses of Hand-drawing Karen Christopher Searching for the 'bandaged place' Louise Tondeur The Catalogue for the Public Library of Private Acts Johanna Linsley Field Notes from a Choreographic Practice Lucy Cash K.Bae.Tré Douglas Kearney Middleword Three Timothy Matthews Afterword Jane Rendell
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