The Guerilla Performance and Multimedia Handbook is the ultimate guide for artists at all stages of their careers engaged in creating original performance and multimedia work, including hybrids of theatre, visual art, installation, physical theatre, dance, CD-Rom and web design. It covers all aspects of artist support including starting up a company, funding, multimedia tools, and documentation and marketing, and incorporates a useful Yellow Pages section with contact information for production, funding, venues, galleries, publications, festivals, printers, equipment hire, technical support, artists organizations, performance archives, copyright offices and software support. The book is lavishly illustrated and interviews from major artists and directors of some of the leading artist support groups in the UK and US along with illuminating case studies address practical questions and offer indispensable insights into how to succeed in the performance arts.

Practice-based research is the default approach to postgraduate activity in Drama, Theatre and Performance. Yet it is only recently beginning to yield any rigorous theory-based guides for researchers, practitioners, supervisors and mentors. As a major contribution to the field this book is a vital 'How To' (and 'How Not To') guide, which identifies the features, attitudes, principles and skills of practice-based research across a range of countries and contexts, forms and applications...including a number of successful PhD projects. Blood, Sweat & Theory reviews research-informed practice and practice-informed research in sections which: analyse key concepts • locate practice-based research within historical, aesthetic and educational settings • challenge received ideas of practice as thesis • distinguish research from reflection and feelings from findings • push practice-based research into new areas of critical inquiry • suggest strategies from first proposal through to submission. The book includes extensively written case studies of projects from Hala Al-Yamani, Annette Arlander, Johannes Birringer, Elena Cologni, Robert Germay, Helka-Maria Kinnunen, Yves Knockaert, Lee Miller, Felix Noble, Allan Owens, Helen Paris, Yoni Prior, Leena Rouihainen, and Joanne 'Bob' Whalley.

This groundbreaking handbook is a resource for artists, community activists and anyone wishing to reach beyond the facts and figures of science and technology to harness their creativity to make change in the world. This timely book explores the pivotal role artists play in re-thinking the future; re-inventing and re-imagining our world at a time of systemic change and uncertainty. Playing for Time identifies collaborative arts practices emerging in response to planetary challenges, reclaiming a traditional role for artists in the community as truth-tellers and agents of change. Sixty experienced artists and activists give voice to a new narrative – shifting society’s rules and values away from consumerism and commodity towards community and collaboration with imagination, humour, ingenuity, empathy and skill. Inspired by the grass-roots Transition movement, modelling change in communities worldwide, Playing for Time joins the dots between key drivers of change – in energy, finance, climate change, food and community resilience – and ‘recipes for action’ for readers to take and try. Praise for Playing for Time... ‘This book is full of wings – wings that are ancient practices, that are community, arts, modernity, wings of global learning for local concerns. Lucy Neal’s anthology of possibility offers a salmagundi of thought,knowledge, options and hope. It’s all here. An almanac to dip into and then create – in the kitchen and the window box and the garden, locally, in community, regionally, nationally, globally. The seeds of change are in us. This is a book to help us grow.’ Stella Duffy, author and founder of Fun Palaces ‘It’s so important that the role of artists in making change is being systematically and beautifully addressed. Playing for Time, holds the keys to the possibility of transformative action.’ Bill McKibben, environmentalist and founder of 350.org ‘A remarkable book that pulls no punches. It’s most enduring image is the poignant flock of passenger pigeons, drawn in sand on Llangrannog beach in 2014, the 100th anniversary of their extinction. It’s an image that will not leave my mind: a message of loss, but also of hope, from which we must, and can, learn.’ Dame Fiona Reynolds, Chair of the Green Alliance ‘“Barren art”, Kandinsky wrote, “is the child of its age”. But prophetic, powerful art is the “mother ofthe future”. A better world will be born of such art, and Lucy Neal’s wonderful cornucopia should beat the elbow of everyone helping in its midwifery.’ Tom Crompton, Common Cause Foundation WWF ‘A total delight’ Rob Hopkins, Co-founder Transition Movement ‘A hand-book for life’ Rose Fenton, Director Free Word. ‘A remarkable achievement’ Neil Darlison, Arts Council England ‘Beautiful from the first sentence’ Laura Williams ‘Deeply nourishing’ Mike Grenville ‘A beauty of a book’ James Marriott, Platform

In our age of ecological crisis, what insights—if any—can we expect to find by looking to our past? Perhaps, suggests Virginia Burrus, early Christianity might yield usable insights. Turning aside from the familiar specter of Christianity's human-centered theology of dominion, Burrus directs our attention to aspects of ancient Christian thought and practice that remain strange and alien. Drawn to excess and transgression, in search of transformation, early Christians creatively reimagined the universe and the human, cultivating relationships with a wide range of other beings—animal, vegetable, and mineral; angelic and demonic; divine and earthly; large and small. In Ancient Christian Ecopoetics, Burrus facilitates a provocative encounter between early Christian theology and contemporary ecological thought. In the first section, she explores how the mysterious figure of khora, drawn from Plato's Timaeus, haunts Christian and Jewish accounts of a creation envisioned as varyingly monstrous, unstable, and unknowable. In the second section, she explores how hagiographical literature queers notions of nature and places the very category of the human into question, in part by foregrounding the saint's animality, in part by writing the saint into the landscape. The third section considers material objects, as small as portable relics and icons, as large as church and monastery complexes. Ancient Christians considered all of these animate beings, simultaneously powerful and vulnerable, protective and in need of protection, lovable and loving. Viewed through the shifting lenses of an ancient ecopoetics, Burrus demonstrates how humans both loomed large and shrank to invisibility, absorbed in the rapture of a strange and animate ecology.

A companion to the successful "Guerilla Film Maker's Handbook", this book deals with every aspect of professional music making in today's popular music industry on both sides of the Atlantic. In creating music and developing a career, almost everyone starts out "independently", that is without the support of a large company. However, independent music making can be defined in a broad sense as a particular attitude towards creating and distribution of music held by professional people. The attitude involves a commitment to retaining control over your work as far as it is practically comaptible with getting it to the larget possible relevant audience. This does not necessarily mean that the independent musician does everything him or herself. One of the most important dimensions of the book will be the checklists of questions musicians need to ask themselves in order to decide whether they need outside help from a manager, lawyer, accountant, record company, music publisher, agent, press officer, plugger etc. The book is divided into six sections, each of which includes brief interviews with key experts. The first two deal with the main areas of musical activity - live performance and recording. Section three explains other aspects of musical activity while section four gets down to the nitty-gritty of the business aspects of making music. Section five summarizes the whole area through some well-chosen real life examples of independent musical activity. Finally, a toolkit section will provide examples of key documents (recording contracts, PRS membership agreements, etc) and other relevant data.

"With candour and compassion nine artists' projects explore fascinating scientific subject areas. From a critical perspective the projects bring out the humane aspects implied by scientific research and clinical practice." "This is a working document for artists, scientists and health professionals alike, to further the debate within the arts and sciences." "Talking back to science presents statements from collaborators and participants, describing their own reflections and approaches to the subject matters with confidence and imagination."--BOOK JACKET.

"This new and updated Guide, with over 2,700 cross-referenced entries, covers all aspects of the American theatre from its earliest history to the present. Entries include people, venues and companies scattered through the U.S., plays and musicals, and theatrical phenomena. Additionally, there are some 100 topical entries covering theatre in major U.S. cities and such disparate subjects as Asian American theatre, Chicano theatre, censorship, Filipino American theatre, one-person performances, performance art, and puppetry. Highly illustrated, the Guide is supplemented with a historical survey as introduction, a bibliography of major sources published since the first edition, and a biographical index covering over 3,200 individuals mentioned in the text."--BOOK JACKET.

The Guerilla Performance and Multimedia Handbook is the ultimate guide for artists at all stages of their careers engaged in creating original performance and multimedia work, including hybrids of theater, visual art, installation, physical theater, dance, CD-ROM and web design. It covers all aspects of artist support including starting up a company, funding, multimedia tools, and documentation and marketing, and incorporates a useful Yellow Pages section with contact information for production, funding, venues, galleries, publications, festivals, printers, equipment hire, technical support, artists organizations, performance archives, copyright offices and software support. The book is lavishly illustrated and interviews from major artists and directors of some of the leading artist support groups in the UK and US along with illuminating case studies address practical questions and offer indispensable insights into how to succeed in the performance arts.