Vancouver Intermedia Group1967Draft Outline:
Before, Beneath, and Beyond Participation

Section I [Introduction]
Section II [Before Participation]
Section III [The Before in The After]
Section IV [Beneath the Artspeak]
And A List of Related Articles.

Adorno, Theodor. Aesthetic Theory. London, Routledge, 1984.

Artaud, Antonin. The Theater and its Double. New York: Grove Press, 1958.
_____________ Selected Writings. Susan Sontag, ed. Berkeley: University of California Press, 1988.

Bachelard, Gaston. The Poetics of Space. New York: Orion Press, 1964.

Baudrillard, Jean. The Mirror of Production. St. Louis: Telos, 1975.
_____________ Forget Foucault. New York: Semiotext(e), 1987.

Banes, Sally. Democracy’s Body: Judson Dance Theatre 1962-1964. Durham: Duke University Press, 1993/97.
_____________ Greenwich Village 1963: Avant-Garde Performance and the Effervescent Body. Duke University Press, 1993.

Blau, Herbert. Blooded Thought: Occasions of Theatre, New York: Performing Arts Journal Publications, 1982.
_____________ The Audience. Baltimore, Johns Hopkins University Press, 1990.

Boulez, Pierre, and John Cage. The Boulez-Cage Correspondence. Robert Samuels and Jean-Jacques Nattiez, eds. Robert Samuels, trans. Cambridge University Press, 1995.

Brecht, Bertolt. Brecht on Theatre. New York: Hill & Wang, 1964.

Brook, Peter, The Empty Space. New York: Atheneum, 1968.
___________ The Shifting Point. New York: Harper & Row, 1987.

Buck-Morss, Susan. The Origin of Negative Dialectics: Theodor W. Adorno, Walter Benjamin, and the Frankfurt Institute. New York: Free Press, 1979.

Case, Sue-Ellen, ed. Performing Feminisms: Feminist Critical Theory and Theatre. Baltimore: Johns Hopkins University Press, 1990.

Crary, Jonathan. Suspensions of Perception: Attention, Spectacle, and Modern Culture. Cambridge: MIT Press, 2001.

Cullen, Jim. The Art of Democracy: A Concise History of Popular Culture in the United States. New York: Monthly Review Press, 1996.

Davida, Dena and  Juanita Suarez. Fields in Motion : Ethnography in the World of Dance. Waterloo, Ont.: Wilfrid Laurier University Press, 2011.

Debord, Guy. The Society of the Spectacle (1967), Donaled Nicholson-Smith, trans. New York: Zone Books, 1994.

Deleuze, Gilles and Félix Guattari. A Thousand Plateaus: Capitalism and Schizophrena. Minneapolis: University of Minnesota Press, 1987.

Derrida, Jacques. Of Grammatology. Baltimore: Johns Hopkins University Press, 1976.
_____________  and Paule Thevenin. The Secret Art of Antonin Artaud. Mary Ann Caws, trans. M.I.T Press: 1998.
_____________ Writing and Difference. Chicago: University of Chicago Press, 1978.

Etchells, Tim. Certain Fragments. London: Routledge, 1999.

Fish, Stanley. Is There a Text in This Class? The Authority of Interpretive Communities. Cambridge, Mass: Harvard University Press, 1980.

Friedman, Ken, ed. The Fluxus Reader. Chicester, West Sussex and New York: Academy Editions, 1998.

Fortier, Mark. Theatre / Theory : An Introduction. London & New York: Routledge, 1997.

Grotowski, Jerzy. Towards a Poor Theatre. London: Methuen, 1975.

Gibson, Andrew. Beckett and Badiou: the pathos of intermittency. Oxford: Oxford University Press, 2006.

Gregg, Melissa and Gregory J. Seigworth, eds. The Affect Theory Reader. Duke University Press, 2010.

Innes, Christopher. Avant Garde Theatre 1892-1992. London: Routledge,1993.

Lehmann, Hans-Thies. Postdramatic Theatre. London and New York: Routledge, 2006.

Heidegger, Martin. Poetry, Language, and Truth. New York: Harper & Row, 1975.
_____________The Question Concerning Technology and Other Essays. New York: Harper & Row, 1977.

Hendricks, Jon. Fluxus Codex. New York: Harry N. Abrams Inc.,1989.

Hickey, Dave. Air Guitar: Essays on Art & Democracy. Los Angeles: Art Issues Press, 1997.

Jameson, Fredric. Brecht and Method. London and New York: Verso, 1998.

Jauss, Hans Robert. Toward an Aesthetic of Reception. Minneapolis: University of Minnesota Press, 1982.

Jameson, Fredric. The Political Unconscious: Narrative as a Socially Symbolic Act. Ithaca: Cornell University Press, 1981.

Kaprow, Allan. Essays on the Blurring of Art and Life. Jeff Kelley, ed. Berkeley and Los Angeles CA: University of California Press, 1993.

Kaynar, Gad and Linda Ben-Zvi, eds. Bertolt Brecht: Performance and Philosophy. Tel Aviv: Tel Aviv University/Assaph Book Series, 2005.

Kottman, Paul A. A Politics of the Scene. Stanford: Stanford University Press. 2007.

Krasner, David and David Saltz, eds. Staging Philosophy: Intersections of Theater, Performance and Philosophy. Michigan: University of Michigan Press. 2006.

Lagaay, Alice. Metaphysics of Performance: Performance, Performativity and the Relation Between Theatre and Philosophy. Berlin: Logos Verlag, 2001.

Landy, Robert J. Persona and Performance: The Meaning of Role in Drama,Therapy, and Everyday Life. London: Jessica Kingsley Publishers, 1993.

Leigh, Foster Susan. Choreographing Empathy: Kinesthesia in Performance. London and New York : Routledge, 2010.

Massumi, Brian. Parables for the Virtual: Movement, Affect, Sensation. Duke University Press, 2002.

Merleau-Ponty, Maurice. Phenomenology of Perception. London: Routledge, 1962.

Muller, Arjen and Joke Brouwer. Interact or Die! Rotterdam: V2_Publishing/NAi Publishers, 2007.

Ortega y Gasset, José. The dehumanization of art: And other essays on art, culture, and literature. Princeton, N.J.: Princeton University Press, 1968 [c1948].

Pfister, Manfred. The Theory and Analysis of Drama. Cambridge: Cambridge University Press, 1991.

Pritchett, James. The Music of John Cage. Cambridge University Press, 1993.

Reinelt, Janelle G. and Joseph R. Roach, eds. Critical Theory and Performance. Ann Arbor: University of Michigan Press, 1992.

Rayner, Alice. To Act, To Do, To Perform: Drama and the Phenomenology of Action. Ann Arbor,:University of Michigan Press, 1994.

Richardson, Michael. Georges Bataille. London, USA, and Canada: Routledge, 1994.

Puchner, Martin. Stage Fright: Modernism, Anti-Theatricality, and Drama. Baltimore and London: John Hopkins University Press, 2002.

Rokem, Freddie. Philosophers and Thespians: Thinking Performance. Stanford: Stanford University Press. 2010.

Robinson, Julia. George Brecht Events: A Heterospective. Cologne: Museum Ludwig and Bucchandlung Walther Koenig, 2005.

Schechner, Richard, Performance Theory, New York, Routledge, 1988.

Schmidt, Theron. 1967 and the Situation of the Spectacle. Queen Mary: University of London,  2010.

Scheer, Edward, ed. Antonin Artaud; A critical reader. London and New York: Routledge, 2004.

Smith, Gary, ed. Benjamin: Philosophy, History, Aesthetics. Chicago: University of Chicago Press, 1989.

Smith, Owen. Fluxus: The History of an Attitude. San Diego: San Diego State University Press, 1998.

Stoekl, Allan, ed. Georges Bataille Visions of Excess: Selected Writings, 1927-1939. The University of Minnesota Press, 2008.

White, John. Bertolt Brecht’s Dramatic Theory. Camdon House, 2004.

Vrtis, R. Plague and mirror: Metaphors of emotional transfer and their affect on the actor-audience relationship in theatre. University of Oregon Press, 2011.

Wardrip-Fruin, Noah and Nick Montfort. The New Media Reader. The MIT Press, 2003.

Zarrili, Phillip B. and Bruce McConachie, Gary Jay Williams, Carol Fisher Sorgenfrei. Theatre Histories: An Introduction. New York and London: Routledge, 2006.

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