dança em foco –

Ensaios Contemporâneos

de Videodança

 

Edited by Eduardo Bonito, Paulo Caldas, Leonel Brum, and Regina Levy

 

Paperback, 352 pages

Aeroplano Editora

Brazil, 2012

 

ISBN: 978-85-7820-0831

PERFORMA 09 – Back to Futurism

 

Edited by RoseLee Goldberg

Foreword by Irving Sandler

 

Paperback, 400 pages

Performa Publications

USA, 2011

 

ISBN-13: 978-0615450667

The book is a collection of essays by national and international artists and researchers engaged in establishing critical thinking on the history and aesthetics of videodance production.

 

Authors include Douglas Rosenberg (USA), Silvina Szperling, Alejandra Ceriana, Susana Temperley (Argentina), Claudia Rosiny (Germany), Karen Pearlman (Australia), Airton Tomazzoni (Porto Alegre–Brazil), Alexandre Veras (Ceará–Brazil), Beatriz Cerbino and Leandro Mendonça, João Luiz Vieira, Leonel Brum, and Paulo Caldas (Rio de Janeiro–Brazil).

 

The book also features Carolina Natal (São Paulo–Brazil) and Cristiane Bouger (Curitiba–Brazil/New York–USA), selected by the curators Ivani Santana and Felipe Ribeiro through a national announcement calling for new essays.

 

The essay A discussão entre Marinetti e Ungari reimaginada por chameckilerner,
by Cristiane Bouger, was published on pages 167–191.

Written and edited by Performa director RoseLee Goldberg, Performa 09: Back to Futurism is the definitive document of the Performa 09 biennial. As the third volume to draw content and inspiration from the Performa biennials, the book features creative documentation by the 150 artists who participated of Performa 09—among them Guy Ben-Ner, Candice Breitz, Omer Fast, Dominique Gonzalez-Foerster and Ari Benjamin Meyers, Mike Kelley, Arto Lindsay, Wangechi Mutu, Christian Tomaszewski and Joanna Malinowska, and Yeondoo Jung (all of whom presented special Performa Commissions) and Keren Cytter, Tacita Dean, Alicia Framis, Loris Greaud, William Kentridge, and Joan Jonas (who brought US premieres to the biennial). Vibrant photos of each artist’s performance by renowned photographer Paula Court and texts contributed by a range of curators and critics provide accounts of every show, as well as an understanding of the importance of each work within the artist’s individual career and in relation to larger historical trends.

 

The piece on Auf den Tisch!, written by Cristiane Bouger, was published on "Chapter Nine – A Slap in the Face of Public Taste", pages 338-339.

 

Auf den Tisch! was an improvisation project curated by choreographer Meg Stuart. It was presented as part of Performa 09 at Baryshnikov Arts Center, New York City.

Theatre and Performance Design – A Reader in Scenography

 

Edited by Jane Collins

and Andrew Nisbet

 

Paperback/Hardcover,
404 pages

Routledge – Taylor & Francis Group

UK, 2010

 

IBSN: 978-0-415-43210-8

A interatividade, o controle da cena e o público como agente compositor

 

Organized by

Margarida Gandara Rauen (Margie)

 

Paperback, 250 pages

EDUFBA

Brazil, 2009

 

IBSN: 978-85-232-0613-0

 IN PORTUGUESE ONLY

Theatre and Performance Design: A Reader in Scenography is an essential resource for those interested in the visual composition of performance and related scenographic practices.

 

Theatre and performance studies, cultural theory, fine art, philosophy and the social sciences are brought together in one volume to examine the principle forces that inform understanding of theatre and performance design.

 

The volume is organized thematically in five sections: Looking: the experience of seeing; Space and place; The designer: the scenographic; Bodies in space; and Making meaning.

 

This major collection of key writings provides a much needed critical and contextual framework for the analysis of theatre and performance design. By locating this study within the broader field of scenography—the term increasingly used to describe a more integrated reading of performance—this unique anthology recognizes the role played by all the elements of production in the creation of meaning.

 

Contributors include Josef Svoboda, Richard Foreman, Roland Barthes, Oscar Schlemmer, Maurice Merleau-Ponty, Richard Schechner, Jonathan Crary, Elizabeth Wilson, Henri Lefebvre, Adolph Appia, and Herbert Blau.

 

Glow: An interview with Gideon Obarzanek, by Cristiane Bouger, was published in the Chapter “Bodies in Space”, pages 301–306.

The book A interatividade, o controle da cena e o público como agente compositor [Interactivity, scene control and the audience as a composition agent] was organized by Brazilian Ph.D. Professor Margarida Gandara Rauen (Margie Rauen) and published by EDUFBA (The Bahia Federal University Press).

 

Authors include Ciane Fernandes and Wagner Lacerda, Cristiane Bouger, Henrique Saidel, Ismael Scheffler, Lígia Losada Tourinho, Luana Raiter and Pedro Diniz Bennaton, Margarida Gandara Rauen/Margie, Maria Beatriz de Medeiros, Stela Regina Fischer, and Manuela Afonso, with a Preface by Valmir Santos.

 

Por Favor, Toque – participantes-performers vivenciam a arquitetura na instalação de David Byrne, by Cristiane Bouger, was published on pages 33–50.

The International Journal of Screendance

Vol 4 – Theory (into) Practice

 

Edited by
Douglas Rosenberg and Claudia Kappenberg

 

The Ohio State University Libraries

187 pages

USA, 2014

 

ISSN: 2154-6878

Movement Research Performance Journal

Issues #31–#42

 

Edited by Trajal Harrell, Leslie Satin,
and Ursula Eagly

 

Movement Research

New York, USA

2006–2012

 

 

The volume features articles and essays by Katy Pendlebury, Sophie Walon, Anna Heighway, Marc Boucher, Rosemary Candelario, Sherril Dodds & Colleen Hooper, Ami Skanberg Dahlstedt and Dianne Reid. There are also reviews by Kyra Norman, Priscilla Guy, and Cristiane Bouger, and an interview with Katrina MacPherson.

 

Together these writings are framed by persistent concerns for how artists and scholars understand the interplay between practice and theory. Co-editor Claudia Kappenberg writes that the “intent here is to suggest that the two words are end points on either side of a spectrum of interdisciplinary work for the screen, and that each is a point of attraction for the other.”

 

This is the last volume edited by IJSD’s founding editors Claudia Kappenberg and Doug Rosenberg, and also the first volume of IJSD to be published on the Open Journal System.

 

Conversation with Boxing Gloves Between Chamecki and Lerner, by Cristiane Bouger, was published on pages 170–176.

 

Since its inception in 1990, the Performance Journal has fostered the evolution of written and graphic languages that contemplate current issues of dance and performance. Created by and for artists via a magazine format, the Performance Journal provides a unique forum for critical rigor and a multi-disciplinary readership. Writings are specifically linked to events, artists, trends, and ideas associated with the current and upcoming performance season in New York, across the country, and abroad. The Performance Journal focuses on artists' of-the-moment concerns, with past topics including gender, environments, identity, technology, activism, dance writing and, most recently, explorations of the ways in which contemporary dance negotiates with the larger cultural landscape. (movementresearch.org)

 

Cristiane Bouger was a contributing editor and collaborating writer for Movement Research Performance Journal from 2006–2013 (Issues #31, #33, #34, #35, #36, #40, and #42).

ARTE DA CENA,

Year 1, N.1

Edited by

Alexandre Silva Nunes

 

EMAC/UFG Press

Goiás/Brazil, 2014

 

ISSN: 2358-6060

 IN PORTUGUESE ONLY

THE LIVE ART ALMANAC – Vol 3

Edited by Lois Keidan and Aaron Wright

 

The Live Art Development Agency/
Oberon Books

Paperback, 340 pages

UK, 2013

 

IBSN: 978-1-84943-396-9

The first issue of Arte da Cena [Art of the Stage], published by Goiás Federal University, features an interview Cristiane Bouger conducted by email with artist and performance researcher Renato Cohen (1956-2003) in April 2001. In this interview, Cohen, who was the author of Performance como Linguagem [Performance as Language] and Work in Progress na Cena Contemporânea [Work in Progress in the Contemporary Scene], talks about the aesthetic choices behind the lighting design decisions of his spectacles, and urges for a lighting design concept that transcends the confinements of meaning. The interview features photographs of Renato Cohen and his spectacle KA, a courtesy from the archives of Camila Cohen, Lúcio Agra, and Samira Br.

 

Cristiane Bouger’s interview is published on pages 3–6.

 

The Live Art Almanac – Volume 3 is a collection of ‘found’ writings about and around Live Art that were originally published, shared, sent, spread and read between January 2010 and December 2011. Selected from an open call for submissions and produced with a network of international partners, Volume 3 reflects the dynamic, international contexts in which Live Art and radical performance-based practices are taking place and the many ways they are being written about.

 

Volume 3 features more traditional forms of writing such as newspaper reviews, journal articles, catalogue essays and lecture texts as well as new platforms for critical discourses like blogs, tweets and other emergent online media, to reflect the huge diversity of work and the seismic shifts that have happened in Live Art over the last few years, particularly the unprecedented institutional embrace of performance and the rise of activist practices.

 

The publication is grouped into seven loosely themed sections: Performance and the Institution; The Presence of Performance in Pop Culture and New Media; Performance, Activism and Public Protest; Taste, Trash and Outrageousness; On Stage/Off Stage: Performance and the Theatrical; Festivals, Scenes and Strategies: From the Local to the Global; and obituaries, lectures and miscellaneous writings.

 

The Live Art Almanac – Volume 3 is published by Live Art Development Agency and Oberon Books, and was developed in partnership with Live Art UK, Performance Space 122 (New York, USA), Performance Space (Sydney, Australia), La Pocha Nostra (San Francisco, USA), and Maska (Ljubljana, Slovenia), with additional support from Asia Art Archive (Hong Kong), ArteEast (New York/Middle East) and Ashkal Alwan (Beirut).

 

The reprint of "Performance and the Reconstruction of the Ephemeral", by Cristiane Bouger, was published in the Chapter “Performance and the Institution”, pages 15–30.

IDANÇA.TXT – Vol 3

 

General Coordination by Nayse Lopez

Edited by Daniele Avila

Idança

 

112  pages

Brazil, 2011

OBSCENA – Revista de Artes Performativas

#21, November–December 2009

 

Edited by Tiago Bartolomeu Costa

118 pages

Lisbon, Portugal

 

ISSN: 1646-9658

 IN PORTUGUESE ONLY

The idanca.txt project was born as a proposal of creating a space for reflection about contemporary performing arts. Five issues were released, bringing together authors from different regions and backgrounds in order to encompass the diversity of concepts and perspectives currently circulating.

 

Performance and the Reconstruction of the Ephemeral, by Cristiane Bouger, was originally published in idança.txt – Volume 3, pages 22–57.

 

This publication received  the generous support of the Prince Claus Fund.

Published in Portugal during 2007–2009, Obscena – Revista de Artes performativas [Performing Arts Magazine] was a bimonthly cultural magazine dedicated
to performing arts and to reflections on
the social and political contexts related to
the art scene.

 

The article A Mutabilidade da Performance [The Mutability of Performance],
by Cristiane Bouger, was published on pages 44–47.

COPYRIGHT © 2021 BY CRISTIANE BOUGER. ALL RIGHTS RESERVED.
COPYRIGHT © 2021 BY CRISTIANE BOUGER. ALL RIGHTS RESERVED.
COPYRIGHT © 2021 BY CRISTIANE BOUGER. ALL RIGHTS RESERVED.
COPYRIGHT © 2021 BY CRISTIANE BOUGER. ALL RIGHTS RESERVED.
COPYRIGHT © 2021 BY CRISTIANE BOUGER. ALL RIGHTS RESERVED.
COPYRIGHT © 2021 BY CRISTIANE BOUGER. ALL RIGHTS RESERVED.

The book is a collection of essays by national and international artists and researchers engaged in establishing critical thinking on the history and aesthetics of videodance production.

 

Authors include Douglas Rosenberg (USA), Silvina Szperling, Alejandra Ceriana, Susana Temperley (Argentina), Claudia Rosiny (Germany), Karen Pearlman (Australia), Airton Tomazzoni (Porto Alegre–Brazil), Alexandre Veras (Ceará–Brazil), Beatriz Cerbino and Leandro Mendonça, João Luiz Vieira, Leonel Brum, and Paulo Caldas (Rio de Janeiro–Brazil).

 

The book also features Carolina Natal (São Paulo–Brazil) and Cristiane Bouger (Curitiba–Brazil/New York–USA), selected by the curators Ivani Santana and Felipe Ribeiro through a national announcement calling for new essays.

 

The essay A discussão entre Marinetti e Ungari reimaginada por chameckilerner,
by Cristiane Bouger, was published on pages 167–191.

Written and edited by Performa director RoseLee Goldberg, Performa 09: Back to Futurism is the definitive document of the Performa 09 biennial. As the third volume to draw content and inspiration from the Performa biennials, the book features creative documentation by the 150 artists who participated of Performa 09—among them Guy Ben-Ner, Candice Breitz, Omer Fast, Dominique Gonzalez-Foerster and Ari Benjamin Meyers, Mike Kelley, Arto Lindsay, Wangechi Mutu, Christian Tomaszewski and Joanna Malinowska, and Yeondoo Jung (all of whom presented special Performa Commissions) and Keren Cytter, Tacita Dean, Alicia Framis, Loris Greaud, William Kentridge, and Joan Jonas (who brought US premieres to the biennial). Vibrant photos of each artist’s performance by renowned photographer Paula Court and texts contributed by a range of curators and critics provide accounts of every show, as well as an understanding of the importance of each work within the artist’s individual career and in relation to larger historical trends.

 

The piece on Auf den Tisch!, written by Cristiane Bouger, was published on "Chapter Nine – A Slap in the Face of Public Taste", pages 338-339.

 

Auf den Tisch! was an improvisation project curated by choreographer Meg Stuart.
It was presented as part of Performa 09 at Baryshnikov Arts Center, New York City.

Theatre and Performance Design: A Reader in Scenography is an essential resource for those interested in the visual composition of performance and related scenographic practices.

 

Theatre and performance studies, cultural theory, fine art, philosophy and the social sciences are brought together in one volume to examine the principle forces that inform understanding of theatre and performance design.

 

The volume is organized thematically in five sections: Looking: the experience of seeing; Space and place; The designer: the scenographic; Bodies in space; and Making meaning.

 

This major collection of key writings provides a much needed critical and contextual framework for the analysis of theatre and performance design. By locating this study within the broader field of scenography—the term increasingly used to describe a more integrated reading of performance—this unique anthology recognizes the role played by all the elements of production in the creation of meaning.

 

Contributors include Josef Svoboda, Richard Foreman, Roland Barthes, Oscar Schlemmer, Maurice Merleau-Ponty, Richard Schechner, Jonathan Crary, Elizabeth Wilson, Henri Lefebvre, Adolph Appia, and Herbert Blau.

 

Glow: An interview with Gideon Obarzanek, by Cristiane Bouger, was published in the Chapter “Bodies in Space”, pages 301–306.

The book A interatividade, o controle da cena e o público como agente compositor [Interactivity, scene control and the audience as a composition agent] was organized by Brazilian Ph.D. Professor Margarida Gandara Rauen (Margie Rauen) and published by EDUFBA (The Bahia Federal University Press).

 

Authors include Ciane Fernandes and Wagner Lacerda, Cristiane Bouger, Henrique Saidel, Ismael Scheffler, Lígia Losada Tourinho, Luana Raiter and Pedro Diniz Bennaton, Margarida Gandara Rauen/Margie, Maria Beatriz de Medeiros, Stela Regina Fischer, and Manuela Afonso, with a Preface by Valmir Santos.

 

Por Favor, Toque – participantes-performers vivenciam a arquitetura na instalação de David Byrne, by Cristiane Bouger, was published on pages 33–50.

The volume features articles and essays by Katy Pendlebury, Sophie Walon, Anna Heighway, Marc Boucher, Rosemary Candelario, Sherril Dodds & Colleen Hooper,
Ami Skanberg Dahlstedt and Dianne Reid. There are also reviews by Kyra Norman, Priscilla Guy, and Cristiane Bouger, and an interview with Katrina MacPherson.

 

Together these writings are framed by persistent concerns for how artists and scholars understand the interplay between practice and theory. Co-editor Claudia Kappenberg writes that the “intent here is to suggest that the two words are end points on either side of a spectrum of interdisciplinary work for the screen, and that each is a point
of attraction for the other.”

 

This is the last volume edited by IJSD’s founding editors Claudia Kappenberg and Doug Rosenberg, and also the first volume of IJSD to be published on the Open Journal System.

 

Conversation with Boxing Gloves Between Chamecki and Lerner, by Cristiane Bouger, was published on pages 170–176.

 

Since its inception in 1990, the Performance Journal has fostered the evolution
of written and graphic languages that contemplate current issues of dance and performance. Created by and for artists via a magazine format, the Performance Journal provides a unique forum for critical rigor and a multi-disciplinary readership. Writings are specifically linked to events, artists, trends, and ideas associated with
the current and upcoming performance season in New York, across the country, and abroad. The Performance Journal focuses on artists' of-the-moment concerns, with past topics including gender, environments, identity, technology, activism, dance writing and, most recently, explorations of the ways in which contemporary dance negotiates with the larger cultural landscape. (movementresearch.org)

 

Cristiane Bouger was a contributing editor and collaborating writer for Movement Research Performance Journal from 2006–2013 (Issues #31, #33, #34, #35, #36, #40, and #42).

The first issue of Arte da Cena [Art of the Stage], published by Goiás Federal University, features an interview Cristiane Bouger conducted by email with artist and performance researcher Renato Cohen (1956-2003) in April 2001. In this interview, Cohen, who was the author of Performance como Linguagem [Performance as Language] and Work in Progress na Cena Contemporânea [Work in Progress in the Contemporary Scene], talks about the aesthetic choices behind the lighting design decisions of his spectacles, and urges for a lighting design concept that transcends
the confinements of meaning. The interview features photographs of Renato Cohen and his spectacle KA, a courtesy from the archives of Camila Cohen, Lúcio Agra,
and Samira Br.

 

Cristiane Bouger’s interview is published on pages 3–6.

 

The Live Art Almanac – Volume 3 is a collection of ‘found’ writings about and around Live Art that were originally published, shared, sent, spread and read between January 2010 and December 2011. Selected from an open call for submissions and produced with a network of international partners, Volume 3 reflects the dynamic, international contexts in which Live Art and radical performance-based practices are taking place and the many ways they are being written about.

 

Volume 3 features more traditional forms of writing such as newspaper reviews, journal articles, catalogue essays and lecture texts as well as new platforms for critical discourses like blogs, tweets and other emergent online media, to reflect the huge diversity of work and the seismic shifts that have happened in Live Art over the last
few years, particularly the unprecedented institutional embrace of performance and the rise of activist practices.

 

The publication is grouped into seven loosely themed sections: Performance and
the Institution; The Presence of Performance in Pop Culture and New Media; Performance, Activism and Public Protest; Taste, Trash and Outrageousness;
On Stage/Off Stage: Performance and the Theatrical; Festivals, Scenes and Strategies: From the Local to the Global; and obituaries, lectures and miscellaneous writings.

 

The Live Art Almanac Volume 3 is published by Live Art Development Agency and Oberon Books, and was developed in partnership with Live Art UK, Performance Space 122 (New York, USA), Performance Space (Sydney, Australia), La Pocha Nostra
(San Francisco, USA), and Maska (Ljubljana, Slovenia), with additional support from Asia Art Archive (Hong Kong), ArteEast (New York/Middle East) and Ashkal Alwan (Beirut).

 

The reprint of Performance and the Reconstruction of the Ephemeral, by Cristiane Bouger, was published in the Chapter “Performance and the Institution”, pages 15–30.

The idanca.txt project was born as a proposal of creating a space for reflection about contemporary performing arts. Five issues were released, bringing together authors from different regions and backgrounds in order to encompass the diversity of concepts and perspectives currently circulating.

 

Performance and the Reconstruction of the Ephemeral, by Cristiane Bouger,
was originally published in idança.txt – Volume 3, pages 22–57.

 

This publication received  the generous support of the Prince Claus Fund.

Published in Portugal during 2007–2009, Obscena – Revista de Artes performativas [Performing Arts Magazine] was a bimonthly cultural magazine dedicated
to performing arts and to reflections on the social and political contexts related
to the art scene.

 

The article A Mutabilidade da Performance [The Mutability of Performance],
by Cristiane Bouger, was published on pages 44–47.

COPYRIGHT © 2021 BY CRISTIANE BOUGER. ALL RIGHTS RESERVED.

The book is a collection of essays by national and international artists and researchers engaged in establishing critical thinking on the history and aesthetics of videodance production.

 

Authors include Douglas Rosenberg (USA), Silvina Szperling, Alejandra Ceriana, Susana Temperley (Argentina), Claudia Rosiny (Germany), Karen Pearlman (Australia), Airton Tomazzoni (Porto Alegre–Brazil), Alexandre Veras (Ceará–Brazil), Beatriz Cerbino and Leandro Mendonça, João Luiz Vieira, Leonel Brum, and Paulo Caldas (Rio de Janeiro–Brazil).

 

The book also features Carolina Natal (São Paulo–Brazil) and Cristiane Bouger (Curitiba–Brazil/New York–USA), selected by the curators Ivani Santana and Felipe Ribeiro through a national announcement calling for new essays.

 

The essay A discussão entre Marinetti e Ungari reimaginada por chameckilerner,
by Cristiane Bouger, was published on pages 167–191.

Written and edited by Performa director RoseLee Goldberg, Performa 09: Back to Futurism is the definitive document of the Performa 09 biennial. As the third volume to draw content and inspiration from the Performa biennials, the book features creative documentation by the 150 artists who participated of Performa 09—among them Guy Ben-Ner, Candice Breitz, Omer Fast, Dominique Gonzalez-Foerster and Ari Benjamin Meyers, Mike Kelley, Arto Lindsay, Wangechi Mutu, Christian Tomaszewski and Joanna Malinowska, and Yeondoo Jung (all of whom presented special Performa Commissions) and Keren Cytter, Tacita Dean, Alicia Framis, Loris Greaud, William Kentridge, and Joan Jonas (who brought US premieres to the biennial). Vibrant photos of each artist’s performance by renowned photographer Paula Court and texts contributed by a range of curators and critics provide accounts of every show, as well as an understanding of the importance of each work within the artist’s individual career and in relation to larger historical trends.

 

The piece on Auf den Tisch!, written by Cristiane Bouger, was published on "Chapter Nine – A Slap in the Face of Public Taste", pages 338-339.

 

Auf den Tisch! was an improvisation project curated by choreographer Meg Stuart. It was presented as part of Performa 09 at Baryshnikov Arts Center, New York City.

Theatre and Performance Design: A Reader in Scenography is an essential resource for those interested in the visual composition of performance and related scenographic practices.

 

Theatre and performance studies, cultural theory, fine art, philosophy and the social sciences are brought together in one volume to examine the principle forces that inform understanding of theatre and performance design.

 

The volume is organized thematically in five sections: Looking: the experience of seeing; Space and place; The designer: the scenographic; Bodies in space; and Making meaning.

 

This major collection of key writings provides a much needed critical and contextual framework for the analysis of theatre and performance design. By locating this study within the broader field of scenography—the term increasingly used to describe a more integrated reading of performance—this unique anthology recognizes the role played by all the elements of production in the creation of meaning.

 

Contributors include Josef Svoboda, Richard Foreman, Roland Barthes, Oscar Schlemmer, Maurice Merleau-Ponty, Richard Schechner, Jonathan Crary, Elizabeth Wilson, Henri Lefebvre, Adolph Appia, and Herbert Blau.

 

Glow: An interview with Gideon Obarzanek, by Cristiane Bouger, was published in the Chapter “Bodies in Space”, pages 301–306.

The book A interatividade, o controle da cena e o público como agente compositor [Interactivity, scene control and the audience as a composition agent] was organized by Brazilian Ph.D. Professor Margarida Gandara Rauen (Margie Rauen) and published by EDUFBA (The Bahia Federal University Press).

 

Authors include Ciane Fernandes and Wagner Lacerda, Cristiane Bouger, Henrique Saidel, Ismael Scheffler, Lígia Losada Tourinho, Luana Raiter and Pedro Diniz Bennaton, Margarida Gandara Rauen/Margie, Maria Beatriz de Medeiros, Stela Regina Fischer, and Manuela Afonso, with a Preface by Valmir Santos.

 

Por Favor, Toque – participantes-performers vivenciam a arquitetura na instalação de David Byrne, by Cristiane Bouger, was published on pages 33–50.

The volume features articles and essays by Katy Pendlebury, Sophie Walon, Anna Heighway, Marc Boucher, Rosemary Candelario, Sherril Dodds & Colleen Hooper, Ami Skanberg Dahlstedt and Dianne Reid. There are also reviews by Kyra Norman, Priscilla Guy, and Cristiane Bouger, and an interview with Katrina MacPherson.

 

Together these writings are framed by persistent concerns for how artists and scholars understand the interplay between practice and theory. Co-editor Claudia Kappenberg writes that the “intent here is to suggest that the two words are end points on either side of a spectrum of interdisciplinary work for the screen, and that each is a point of attraction for the other.”

 

This is the last volume edited by IJSD’s founding editors Claudia Kappenberg and Doug Rosenberg, and also the first volume of IJSD to be published on the Open Journal System.

 

Conversation with Boxing Gloves Between Chamecki and Lerner, by Cristiane Bouger, was published on pages 170–176.

 

Since its inception in 1990, the Performance Journal has fostered the evolution of written and graphic languages that contemplate current issues of dance and performance. Created by and for artists via a magazine format, the Performance Journal provides a unique forum for critical rigor and a multi-disciplinary readership. Writings are specifically linked to events, artists, trends, and ideas associated with the current and upcoming performance season in New York, across the country, and abroad. The Performance Journal focuses on artists' of-the-moment concerns, with past topics including gender, environments, identity, technology, activism, dance writing and, most recently, explorations of the ways in which contemporary dance negotiates with the larger cultural landscape. (movementresearch.org)

 

Cristiane Bouger was a contributing editor and collaborating writer for Movement Research Performance Journal from 2006–2013 (Issues #31, #33, #34, #35, #36, #40, and #42).

The first issue of Arte da Cena [Art of the Stage], published by Goiás Federal University, features an interview Cristiane Bouger conducted by email with artist and performance researcher Renato Cohen (1956-2003) in April 2001. In this interview, Cohen, who was the author of Performance como Linguagem [Performance as Language] and Work in Progress na Cena Contemporânea [Work in Progress in the Contemporary Scene], talks about the aesthetic choices behind the lighting design decisions of his spectacles, and urges for a lighting design concept that transcends the confinements of meaning. The interview features photographs
of Renato Cohen and his spectacle KA, a courtesy from the archives of Camila Cohen, Lúcio Agra, and Samira Br.

 

Cristiane Bouger’s interview is published on pages 3–6.

 

The Live Art Almanac – Volume 3 is a collection of ‘found’ writings about and around Live Art that were originally published, shared, sent, spread and read between January 2010 and December 2011. Selected from an open call for submissions and produced with a network of international partners, Volume 3 reflects the dynamic, international contexts in which Live Art and radical performance-based practices are taking place and the many ways they are being written about.

 

Volume 3 features more traditional forms of writing such as newspaper reviews, journal articles, catalogue essays and lecture texts as well as new platforms for critical discourses like blogs, tweets and other emergent online media, to reflect the huge diversity of work and the seismic shifts that have happened in
Live Art over the last few years, particularly the unprecedented institutional embrace of performance and the rise of activist practices.

 

The publication is grouped into seven loosely themed sections: Performance and the Institution; The Presence of Performance
in Pop Culture and New Media; Performance, Activism and Public Protest; Taste, Trash and Outrageousness; On Stage/Off Stage: Performance and the Theatrical; Festivals, Scenes and Strategies: From the Local to the Global; and obituaries, lectures and miscellaneous writings.

 

The Live Art Almanac Volume 3 is published by Live Art Development Agency and Oberon Books, and was developed in partnership with Live Art UK, Performance Space 122 (New York, USA), Performance Space (Sydney, Australia), La Pocha Nostra (San Francisco, USA), and Maska (Ljubljana, Slovenia), with additional support from Asia Art Archive (Hong Kong), ArteEast (New York/Middle East) and Ashkal Alwan (Beirut).

 

The reprint of Performance and the Reconstruction of the Ephemeral, by Cristiane Bouger, was published in the Chapter “Performance and the Institution”, pages 15–30.

The idanca.txt project was born as a proposal of creating a space
for reflection about contemporary performing arts. Five issues were released, bringing together authors from different regions and backgrounds in order to encompass the diversity of concepts and perspectives currently circulating.

 

Performance and the Reconstruction of the Ephemeral, by Cristiane Bouger, was originally published in idança.txt – Volume 3, pages 22–57.

 

This publication received  the generous support of the Prince Claus Fund.

Published in Portugal during 2007–2009, Obscena – Revista de Artes performativas [Performing Arts Magazine] was a bimonthly cultural magazine dedicated to performing arts and to reflections on the social and political contexts related to the art scene.

 

The article A Mutabilidade da Performance [The Mutability
of Performance
], by Cristiane Bouger, was published
on pages 44–47.

COPYRIGHT © 2021 BY CRISTIANE BOUGER. ALL RIGHTS RESERVED.

The book is a collection of essays by national and international artists and researchers engaged in establishing critical thinking on the history and aesthetics of videodance production.

 

Authors include Douglas Rosenberg (USA), Silvina Szperling, Alejandra Ceriana, Susana Temperley (Argentina), Claudia Rosiny (Germany), Karen Pearlman (Australia), Airton Tomazzoni (Porto Alegre–Brazil), Alexandre Veras (Ceará–Brazil), Beatriz Cerbino and Leandro Mendonça, João Luiz Vieira, Leonel Brum, and Paulo Caldas (Rio de Janeiro–Brazil).

 

The book also features Carolina Natal (São Paulo–Brazil) and Cristiane Bouger (Curitiba–Brazil/New York–USA), selected by the curators Ivani Santana and Felipe Ribeiro through a national announcement calling for new essays.

 

The essay A discussão entre Marinetti e Ungari reimaginada por chameckilerner,
by Cristiane Bouger, was published on pages 167–191.

Written and edited by Performa director RoseLee Goldberg, Performa 09: Back to Futurism is the definitive document of the Performa 09 biennial.
As the third volume to draw content and inspiration from the Performa biennials, the book features creative documentation by the 150 artists who participated of Performa 09—among them Guy
Ben-Ner, Candice Breitz, Omer Fast, Dominique Gonzalez-Foerster and Ari Benjamin Meyers, Mike Kelley, Arto Lindsay, Wangechi Mutu, Christian Tomaszewski and Joanna Malinowska, and Yeondoo Jung (all of whom presented special Performa Commissions) and Keren Cytter, Tacita Dean, Alicia Framis, Loris Greaud, William Kentridge, and Joan Jonas (who brought US premieres to the biennial). Vibrant photos of each artist’s performance by renowned photographer Paula Court and texts contributed by a range of curators and critics provide accounts of every show, as well as an understanding of the importance of each work within the artist’s individual career and in relation to larger historical trends.

 

The piece on Auf den Tisch!, written by Cristiane Bouger, was published on "Chapter Nine – A Slap
in the Face of Public Taste", pages 338-339.

 

Auf den Tisch! was an improvisation project curated by choreographer Meg Stuart. It was presented as part of Performa 09 at Baryshnikov Arts Center, New York City.

Theatre and Performance Design: A Reader in Scenography is an essential resource for those interested in the visual composition of performance and related scenographic practices.

 

Theatre and performance studies, cultural theory, fine art, philosophy and the social sciences are brought together in one volume to examine the principle forces that inform understanding of theatre and performance design.

 

The volume is organized thematically in five sections: Looking: the experience of seeing; Space and place; The designer: the scenographic; Bodies in space; and Making meaning.

 

This major collection of key writings provides a much needed critical and contextual framework
for the analysis of theatre and performance design. By locating this study within the broader field
of scenography—the term increasingly used to describe a more integrated reading of performance—this unique anthology recognizes the role played by all the elements of production in the creation
of meaning.

 

Contributors include Josef Svoboda, Richard Foreman, Roland Barthes, Oscar Schlemmer, Maurice Merleau-Ponty, Richard Schechner, Jonathan Crary, Elizabeth Wilson, Henri Lefebvre, Adolph Appia, and Herbert Blau.

 

Glow: An interview with Gideon Obarzanek,
by Cristiane Bouger, was published in the Chapter “Bodies in Space”, pages 301–306.

The book A interatividade, o controle da cena e o público como agente compositor [Interactivity, scene control and the audience as a composition agent] was organized by Brazilian Ph.D. Professor Margarida Gandara Rauen (Margie Rauen) and published by EDUFBA (The Bahia Federal University Press).

 

Authors include Ciane Fernandes and Wagner Lacerda, Cristiane Bouger, Henrique Saidel, Ismael Scheffler, Lígia Losada Tourinho, Luana Raiter and Pedro Diniz Bennaton, Margarida Gandara Rauen/Margie, Maria Beatriz de Medeiros, Stela Regina Fischer, and Manuela Afonso, with a Preface by Valmir Santos.

 

Por Favor, Toque – participantes-performers vivenciam a arquitetura na instalação de David Byrne, by Cristiane Bouger, was published on pages 33–50.

The volume features articles and essays by Katy Pendlebury, Sophie Walon, Anna Heighway, Marc Boucher, Rosemary Candelario, Sherril Dodds
& Colleen Hooper, Ami Skanberg Dahlstedt
and Dianne Reid. There are also reviews by Kyra Norman, Priscilla Guy, and Cristiane Bouger,
and an interview with Katrina MacPherson.

 

Together these writings are framed by persistent concerns for how artists and scholars understand the interplay between practice and theory. Co-editor Claudia Kappenberg writes that the “intent here is to suggest that the two words are end points on either side of a spectrum of interdisciplinary work for the screen, and that each is a point of attraction for the other.”

 

This is the last volume edited by IJSD’s founding editors Claudia Kappenberg and Doug Rosenberg, and also the first volume of IJSD to be published
on the Open Journal System.

 

Conversation with Boxing Gloves Between Chamecki and Lerner, by Cristiane Bouger, was published on pages 170–176.

Since its inception in 1990, the Performance Journal has fostered the evolution of written and graphic languages that contemplate current issues of dance and performance. Created by and for artists via a magazine format, the Performance Journal provides a unique forum for critical rigor and a multi-disciplinary readership. Writings are specifically linked to events, artists, trends, and ideas associated with the current and upcoming performance season in New York, across the country, and abroad. The Performance Journal focuses on artists' of-the-moment concerns, with past topics including gender, environments, identity, technology, activism, dance writing and, most recently, explorations of the ways in which contemporary dance negotiates with the larger cultural landscape. (movementresearch.org)

 

Cristiane Bouger was a contributing editor and collaborating writer for Movement Research Performance Journal from 2006–2013 (Issues #31, #33, #34, #35, #36, #40, and #42).

The first issue of Arte da Cena [Art of the Stage], published by Goiás Federal University, features an interview Cristiane Bouger conducted by email with artist and performance researcher Renato Cohen (1956-2003) in April 2001. In this interview, Cohen, who was the author of Performance como Linguagem [Performance as Language] and Work in Progress na Cena Contemporânea [Work in Progress in the Contemporary Scene], talks about the aesthetic choices behind the lighting design decisions of his spectacles, and urges for a lighting design concept that transcends the confinements of meaning. The interview features photographs of Renato Cohen and his spectacle KA, a courtesy from the archives of Camila Cohen, Lúcio Agra, and Samira Br.

 

Cristiane Bouger’s interview is published on pages 3–6.

 

The Live Art Almanac – Volume 3 is a collection of ‘found’ writings about and around Live Art that were originally published, shared, sent, spread and read between January 2010 and December 2011. Selected from an open call for submissions and produced with a network of international partners, Volume 3 reflects the dynamic, international contexts in which Live Art and radical performance-based practices are taking place and the many ways they are being written about.

 

Volume 3 features more traditional forms of writing such as newspaper reviews, journal articles, catalogue essays and lecture texts as well as new platforms for critical discourses like blogs, tweets and other emergent online media, to reflect the huge diversity of work and the seismic shifts that have happened in Live Art over the last few years, particularly the unprecedented institutional embrace of performance and the rise of activist practices.

 

The publication is grouped into seven loosely themed sections: Performance and the Institution; The Presence of Performance in Pop Culture and New Media; Performance, Activism and Public Protest; Taste, Trash and Outrageousness; On Stage/Off Stage: Performance and the Theatrical; Festivals, Scenes and Strategies: From the Local to the Global; and obituaries, lectures and miscellaneous writings.

 

The Live Art Almanac – Volume 3 is published by Live Art Development Agency and Oberon Books, and was developed in partnership with Live Art UK, Performance Space 122 (New York, USA), Performance Space (Sydney, Australia), La Pocha Nostra (San Francisco, USA), and Maska (Ljubljana, Slovenia), with additional support from Asia Art Archive (Hong Kong), ArteEast (New York/Middle East) and Ashkal Alwan (Beirut).

 

The reprint of "Performance and the Reconstruction of the Ephemeral", by Cristiane Bouger, was published in the Chapter “Performance and the Institution”, pages 15–30.

The idanca.txt project was born as a proposal of creating a space for reflection about contemporary performing arts. Five issues were released, bringing together authors from different regions and backgrounds in order to encompass the diversity of concepts and perspectives currently circulating.

 

Performance and the Reconstruction of the Ephemeral, by Cristiane Bouger, was originally published in idança.txt – Volume 3, pages 22–57.

 

This publication received  the generous support of the Prince Claus Fund.

Published in Portugal during 2007–2009, Obscena – Revista de Artes performativas [Performing Arts Magazine] was a bimonthly cultural magazine dedicated
to performing arts and to reflections on
the social and political contexts related to
the art scene.

 

The article A Mutabilidade da Performance [The Mutability of Performance],
by Cristiane Bouger, was published on pages 44–47.

COPYRIGHT © 2021 BY CRISTIANE BOUGER. ALL RIGHTS RESERVED.
COPYRIGHT © 2021 BY CRISTIANE BOUGER. ALL RIGHTS RESERVED.