What is the quality of participation in contemporary art and performance? Fair Play: Art, Performance and Neoliberalism explores this question through the work of important contemporary artists and organizations including Marcus Coates, Phil Collins, Jeremy Deller, Michael Landy, Grayson Perry, Rachel Whiteread, Lone Twin, Punchdrunk, Tate Modern and the National Theatre.

This book presents a theory of audience participation in the theatre, based on the importance of the moment of invitation and how an event changes character when such an invitation is made.

A 150 page reader for students and other particularly interested audience members stuffed full of texts, scripts, interviews and concept documents.

This volume examines the ways gay men have used theatre and performance to intervene in the AIDS crisis. It discusses dramatic texts and public performances–from cabarets and candlelight vigils to full-scale Broadway productions that have shaped, and been shaped by, the history of AIDS in national, regional, and local contexts.

Documentation from GETINTHEBACKOFTHEVAN’s DIY 10 project, which explored exertion, endurance, cliché and the epic using the musical Calamity Jane.

The project took place at Cambridge Junction. Part of LADA’s DIY.

4:38.

Part game, part improvisation, this unique 24-hour live experience pits alternating pairs of performers against one another as they test their opponents with an avalanche of questions.

Recording on a hard drive. 

Recorded 12-13 April 2013 at the Barbican; part of SPILL.

In a safe box.

 This DVD is currently missing. The digital file can be viewed in the Study Room. The reference is EF5193.

Immersive theatrical experience exploring the complex and ambiguous relationship with water. In collaboration with Mike Brookes, Minty Donald, Rob Drummond, Ira Mandela Siobhan, Jane Mason, Nick Millar and Nichola Scrutton.

18 October 2012 at Govanhill Baths. 52 minutes.

Includes DVDs, programmes, flyers. In two folders.

Includes: Icing (Oval House, 1978), Circus Lumiere, Abduction (ICA, 1992), Beauty and the Beast (1983), Paradise (ICA, 1989), Panic I, (Camden Music Festival, 1987), Panic II (Gardner Cente Brighton, 1987), Vulture Culture (Brisbane, 1987 and Henley Festival, 1984), Special Forces (Oval House, 1976), Jean Pool (1979) , War Dance (Nottingham Castle, 1989), Deadwood  (Kew Gardnes, 1986), Senseless (ICA, 1983), Brightside (1984), Dinning with Alice (1999 and 2011), Fifty-Five Years of the Swallow and the Butterfly (Penzance, 1990), Glazed (Chapter, 1979),  Giants (Birmingham Arts Lab, 1979),  Entertaining Strangers (Lyric Hammersmith, 1986),  Slips (1981), Son of Circus Lumiere (Edinburgh Festival, 1982), Why is Here There Everywhere Now? (Riverside Studios, 1991), Heart of Ice (The Place, 1987), String of Perils (Albany Empire, 1980), The Appeal (Channel 4, 1982), Tip Top Conditions (1981 and 1988), Dogs (Oval House, 1976)

The book explores Weaver’s collaborative work with Split Britches and Spiderwoman as well as her solo projects, performance interventions, and work as a facilitator, teacher, and as Tammy WhyNot.

Moving across the boundaries of mainstream and experimental circuits, from the affective pleasures of commercially successful shows such as Calendar Girls and Mamma Mia! to the feminist possibilities of new burlesque and stand-up, this book offers a lucid and accessible account of popular feminisms in contemporary theatre and performance.