She found that in Rad Pereira, whose work with The Lost Collective for the Administration of Children and Family Services in New York City Jan had followed. She sought an artist/thinker who could complement her effort, but from the perspective of a much younger generation, and grounded in different cultural markers. She had been at a distance from the making of performance in recent years and did not know whom to approach, particularly from the past 10 years. While there have always been artists working directly in relationship to their communities, the great social movements that galvanized the country around first African American and then other groups’ civil rights, the war in Vietnam, and the nuclear threat set the performance ecosystem, since the mid-1960s, spinning.Īround 30 interviews in, Jan realized that she could not write the book alone. Jan was motivated to write this book to connect instances of socially engaged theatre and performance during the period that she has been following it, 1965–2020, exploring parallel concerns and interrogating differences through the reflections of practitioners who have lived it.
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