MARC Record from marc_columbia

LEADER: 07899cam a2200481Ii 4500
001 15309268
005 20210216150019.0
008 201010t20202020be a 000 0 eng d
035 $a(OCoLC)on1199944792
040 $aOHX$beng$erda$cOHX$dCIA$dMNU$dOCLCO$dOCLCF$dQGK
016 7 $a1209615460$2DE-101
020 $a9783957324580$qpaperback
020 $a3957324580
024 3 $a9783957324580
035 $a(OCoLC)1199944792
050 04 $aPN2049$b.W459 2020
245 00 $aWhy theatre? /$cedited by Kaatje de Geest, Carmen Hornbostel and Milo Rau ; translations, Gregory Ball [and eighteen others].
264 1 $a[Ghent] :$bNTGent ;$aBerlin :$bVerbrecher Verlag,$c[2020]
264 4 $c©2020
300 $a367 pages :$billustrations ;$c20 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
490 1 $aGolden book ;$vV
505 00 $gEditorial --$tA constant journey of doubt and experimentation /$rMohammad Al Attar --$tThings I would miss /$rLola Arias --$tTheatre as a spiritual path /$rHector Aristizábal --$tThe lion king /$rBack to Back Theatre --$tThe Think Tank Theatre /$rYael Bartana --$tThe same air /$rVincent Baudriller --$tSaving the world /$rJérôme Bel --$tTheatre humain /$rChokri Ben Chikha (Action Zoo Humain) --$tWhy oh why? /$rBread and Puppet Theatre --$tArt is not about producing, it's about implementing /$tTania Bruguera --$tSuspension of disbelief /$rLuanda Casella --$tThe art of those who dare /$rNora Chipaumire --$tOn vulgar acting /$rBenny Claessens --$tAbout wild capitalism & its patriarchal performance in our lives /$rColectivo LASTESIS --$tHome /$rKelly Copper (Nature Theatre of Oklahoma) --$tA letter to dance /$rAnne Teresa De Keersmaeker --$tI was theatre, but theatre was never me /$rMihaela Drǎgan --$t"All the world's a stage," (really?) /$rRadha D'Souza --$tRe: Theatre does not entertain me /$rTania El Khoury --$tDinner is served /$rNicoleta Esinencu --$tNot even the dead will be safe if the enemy wins /$rDouglas Estevam (MST) --$tOne day we will all be free /$rTim Etchells (Forced Entertainment) --$tSustaining the sky /$rCibele Forjaz --$tOn theatre, absence, disappearance and bodies /$rOliver Frljić --$tYou know you want it! /$rGob Squad --$tIt has eaten up all the others /$rJulien Gosselin --$tTogether in the dark /$rSébastien Hendrickx (Extinction Rebellion) --$tFor a life in action /$rFlorentina Holzinger --$tLiving in theatre /$rHsin-Chien Huang --$tNeed I say more? /$rIsabelle Huppert --$tWet dreams /$rManuela Infante --$tWhen we still do not know what theatre is /$rChristiane Jatahy --$tWhatever you do is theatre /$rJojo & Joyee (House of Muchness) --$tStop pretending /$rJohn Jordan --$tBecause /$rStefan Kaegi (Rimini Protokoll) --$tA is not. Any more than B. /$rAlexander Karschnia (andcompany&Co.) --$tThe infinite game of becoming /$rSusanne Kennedy --$tThe less good idea /$rWilliam Kentridge --$tNever becoming the concrete answer /$rAmir Reza Koohestani --$tOur opera is a body, is a vessel, is a village /$rAino Laberenz --$tBorn from the inside out /$rSidi Larbi Cherkaoui --$tEmbodiment /$rUrsina Lardi --$tI need company /$rJan Lauwers (Needcompany) --$tLet us be invaded /$rMarco Layera --$tTheatre belongs in a museum /$rJames Leadbitter (The Vacuum Cleaner) --$tWhy sea stars? /$rFrie Leysen --$tAbout the ineffable: the mystical conception /$rAngélica Liddell --$tLaboratories of the future /$rMatthias Lilienthal --$tThe suspension of freedom /$rÉdouard Louis --$tTheatre as assembly /$rFlorian Malzacher --$tCreating a climate of change /$rKatie Mitchell --$tForever changes /$rSanja Mitrović --
505 80 $tA sort of genesis /$rAriane Mnouchkine --$tTechnicians of Dionysus /$rErmanna Montanari & Marco Martinelli (Teatro Delle Albe) --$tExcursus /$rMaia Morgenstern --$tThe role of theatre in the struggle against neoliberal hegemony /$rChantal Mouffe --$tThere will always be theatre /$rYolanda Mpelé --$tBetween here and here /$rRabih Mroué --$tExile and territory /$rKornel Mundruzcó --$tWhy as a responsibility to awe /$rOgutu Muraya --$tSecond exit after the soul /$rNganji Mutiri --$tTheatre, because freedom /$rJeton Neziraj --$tHello darkness /$rDaniela Nicolò & Enrico Casagrande (MOTUS) --$tTheatre of vulnerability /$rBoris Nikitin --$tWhy water /$rMamela Nyamza --$tDear grandma, /$rMarkus Öhrn --$tFiction coming to life and intercontextualisation /$rToshiki Okada --$tWe sit as an audience in the now /$rSuzanne Osten --$tStates of emergency /$rThomas Ostermeier --$tLike breathing /$rBouchra Ouizguen --$tThe grass is greener on the stage /$rLies Pauwels --$tFor God's sake why? /$rLuk Perceval --$tNurture the audacity /$rAlain Platel --$tThis is a recording /$rRené Pollesch --$tThinking of the end of the world in costume by the sea /$rPhilippe Quesne --$tIndispensable ritual /$rMokhallad Rasem --$tTheatre is a place of truth /$rMilo Rau --$tPut on another show /$rFalk Richter --$tTo stay in life /$rTiago Rodrigues --$tThe curtain should rise on the right side /$rKathrin Röggla --$tPiece of evidence /$rPia Maria Roll & Hanan Benammar --$tBelieving before seeing /$rDidier Ruiz --$tCreating a new world /$rAmir Sabra (Stereo48) --$tWhy art, why now, why ever? /$rFarah Saleh --$tIn closed spaces /$rFabian Scheidler --$tWhy, honey? /$rDennis Seidel --$tAntibodies against lies /$rKirill Serebrennikov --$tSlowly getting high /$rShe She Pop --$tFor as long as I can remember, I've been performing /$rBuhlebezwe Siwani --$tLack of guarantee /$rMårten Spångberg --$tHalf world /$rVeit Sprenger (Showcase Beat Le Mot) --$tTowards emancipatory performance /$rLara & Jonas Staal --$tGhost choirs /$rBotho Strauß --$tWe got it all wrong /$rTea Tupajić --$tSome call it universe, I call it theatre /$rCarole Umulinga Karemera --$tConfusionists /$rIgor Vamos (Yes Men) --$tArt is a human right /$rIvo van Hove --$tA world that needs ceaseless reconstruction /$rGisèle Vienne --$tThe condition of community /$rDmitry Vilensky (Chto Delat) --$tThe fifth wall /$rMarc-Antoine Vumilia --$tEverything is open /$rSasha Waltz --$tWhy not /$rMiet Warlop --$tTough love /$rJoanna Warsza --$tIncomprehensibility /$rApichatpong Weerasethakul --$tEscalation! /$rZentrum für politische Schönheit --$tThe art of unmasking /$rDominique Ziegler.
520 $a"[A]fter months of cultural lockdown, when live arts were in a state of emergency and the whole institution rethought their priorities, NTGent asked more than 100 of the most influential artists and intellectuals in the world the question: Why theatre? Why is this art form so unique, so beautiful, so indispensable? From classical theatre to performance art and dance, from activism to political theatre and the performativity of everyday life, authors of all continents and generations delivered short essays, memories, manifestos, letters. Moments of aesthetic epiphany meet strong emotion, critical insights into the problems of representation and populism compete with utopian texts about the theatre of the future: more than 100 voices about the state of performing arts in 2020."--Page 2.
650 0 $aTheater.
650 0 $aTheater and society.
650 0 $aTheater and state.
650 0 $aTheater$xAesthetics.
650 0 $aTheater$xPolitical aspects.
650 7 $aTheater.$2fast$0(OCoLC)fst01149217
650 7 $aTheater$xAesthetics.$2fast$0(OCoLC)fst01149221
650 7 $aTheater and society.$2fast$0(OCoLC)fst01149315
650 7 $aTheater and state.$2fast$0(OCoLC)fst01149318
650 7 $aTheater$xPolitical aspects.$2fast$0(OCoLC)fst01149276
700 1 $aGeest, Kaatje de,$eeditor.
700 1 $aHornbostel, Carmen,$eeditor.
700 1 $aRau, Milo,$d1977-$eeditor.
700 1 $aBall, Gregory,$d1953-$etranslator.
830 0 $aGolden book (NTGent) ;$v5.
852 00 $bglx$hPN2049$i.W459 2020g