This module intends to provide an historical, contextual and practical overview of Live Arts from the 1960's to the present day. Students will be invited to examine and discuss a range of practitioners and works across the live-arts spectrum, including visual art installations, multi-media events, happenings, body-works, monologues, theatrical events, dance, circus and cabaret. Practitioners chosen for discussion (this is by no means a definitive list) may include: Marina Abramovic, Laurie Anderson, BET 4 Artists, Simon Piasecki-Maxted, Glyn Davis Marshall, John Cage, Merce Cunningham, Alan Kaprow, Judson Dance, Yoko Ono, Forced Entertainment, Felix Ruckert, Franko B, Ron Athey and Bobby Baker. The performative element to this module will require students to consider the compositional features of Live Arts practice under performance conditions and to challenge notions of logocentrism in relation to theatre and performance.

Practical element 1 hour [Learning Outcomes 1 and 4].
Coursework Essay [Learning Outcomes 1,2, 3].
A critical review of a selected practitioner's work, as a live and/or recorded event - 750 words (learning outcome 2) 10%.

Preliminary lectures/workshops will provide a basic informative introduction to Live Arts practice from the 1960's to the present day. This will be followed by lecture/seminars which focus on the compositional features of selected live artists and their works. The practical element to this module will require students to demonstrate their understanding of live arts practice through its practical application under performance conditions. At all times the students will be expected to adhere to Drama and Theatre Arts code of health and safety practice. The written component to this module will require students to submit a 3000 word essay.

Barthes, R, Image, Music, Text, Fontana Press, 1977.
Carlson, M, Performance, An Critical Introduction, Routledge, 1999.
Childs, N (Editor) & Walwin, J (Editor) A Split Second of Paradise: Live Art, Installation and Performance, Rivers Oram Press, 1998.
Goldberg, R, Performance Art, Futurism to the Present, Thames and Hudson, 2001.
Golberg, R, Peformance: Live Art Since the 60's, Thames and Hudson, 1998.
Howells, A, The Analysis of Performance Art, Harwood Academic Publishers, 2000.
Schechner, R, Performance Studies: An Introduction, Routledge, 2002.
Schechner, R, Performance Theory, Routledge, 1994.

You will need access to these resources:
Library facilities, computers and internet access.
Slide projection, powerpoint and OHPs.
Rehearsal rooms and performance venues
The Blackboard virtual learning environment will be available (where relevant) to support this module.
Details will be supplied in the module handbook.