- Hide menu

Propaganda

About

Artist Statement

Bio

Rules

F.A.Q

Curriculum Vitae

Bibliography

.

Jamie Lyons, site specific, theater, theatre, performance, artist, collected works, we players, director, stanford, theater and performance studies, research, drama, shakespeare, san francisco, theater bay area, dance

Theatre Maker and Photographer specializing in site specific work and the documentation of performance… Live Art. Graduate of Stanford University, currently based in San Francisco. Note: The photographs displayed here are a mix of digital (full frame or iPhone) and film: 6×6 negative (1952 Rolliflex, Holga) and 4×5 (1958 Speed Graphic Pacemaker) for archival purposes.

Artist Statement

theatre holds an ancient resonance
born in caves
from the moment theatre was born
religion was born
they were born together

this is not a nostalgic statement
nor is it an archaeological attitude

in no way
is theatre a structure
belonging to the past

i see it as a force
a practice of ritual
an ancient spirit
found at the core of all live art

theatre’s aesthetic meaning remains contemporary
an artistic enterprise that questions itself
repurposes itself with each occasion
offered in real time
with no barriers
founded on an act of presence

what is the site specific event?
artists producing work in collaboration
with a unique environment

fundamental to my approach
concerns working in the present
while collaborating
with the remains of the past
the accumulated histories
a site contains
the ethereal elements
that remain ever present

my artistic practice
centers itself
with these connections and relationships
uniting past, present and future…
fusing artists, structures, remnants…
detritus
ghosts

regarding photographic images
on their own
they are complicated and fascinating
synthesized with thought

taken individually
they contain stories
provide epiphanies

as a collection
they convey the performance into the future
chronicling material change and temporal impermanence
order and entropy
the acts of making
consuming and discarding

translating and transforming
the experience of witnessing
into something sober:
a document…
an inventory, narrative, or…
for some
an explanation

for both theatre making and photography
there is nothing to invent
there are things to edit
the citing inherent in the work is infinite
the invention is finite
Giotto solved the problem of bodies in space
Carvaggio … chiaroscuro
Rembrandt … light
Piranesi … inside/outside
Van Gogh … color
Warhol … the reproducibility of the image

the spectator is the key
the foundation of the work
a presence impossible to disregard
a God
able to create
give life

without a witness
without that experience
without that memory
without that emotion
without the life of the spectator
all we have are bodies
geometries
sound and light
with no meaning

these phenomena
are part of a nourishment
that belongs to everyone

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Upcoming Performances, Exhibitions & Lectures

Bio

Bio

Rules

Rule 1
Never screw over a collaborator

Rule 2
Focus on process, not results

Rule 3
Don’t believe what you’re told

Rule 4
Never be unreachable

Rule 5
Never make excuses

Rule 6
Never waste talent

Rule 7
Always work as a team

Rule 8
Put in more than you want out

Rule 9
Never take anything for granted

Rule 10
Always carry a knife

Rule 11
Talking about work and work are not the same thing

Rule 12
Leave the site exactly as you found it

Rule 13
When the show is over, walk away

Rule 14
Never date a collaborator

Rule 15
Consider everything an experiment
(thank you John Cage)

Rule 16
Never involve lawyers

Rule 17
Bend the lines, don’t break them

Rule 18
Instinct is not the same as impulse

Rule 19
Appreciate failure, this is where growth occurs

Rule 20
It’s better to seek forgiveness than ask permission

Rule 21
Protect the time and space in which you work

Rule 22
Always carry a note-book and a pencil

Rule 23
Always carry a camera

Rule 24
Watch those watching

Rule 25
Snacks are suprisingly really important

Rule:26
Always remember we’re doing this because we love it

Rule 27
If you feel like you are being taken advantage of … you are

Rule 28
Avoid wearing shoes, they break your connection with the space

Rule 29
Don’t waste peoples time, don’t let others waste yours

Rule 30
There is no such thing as coincidence, the universe is telling you something
sometimes it’s saying “no”

Rule 31
Be transparent with your collaborators:
they can do more when they have a complete understanding of what is going on
and very helpful when you do not

Rule 32
Clean up any mess you make

(a) the reverese for you: show up clean/leave dirty

Rule 33
Be the first to arrive and the last to leave

Rule 34
Don’t work on Monday

(a): Ghosts exist, give them one day/night a week alone in the space

Rule 35
Don’t work for free; don’t ask others to work for free

Rule 36
Think twice about picking a site that doesn’t allow dogs

Rule 37
Everybody off book: actors, musicians, stage manger, crew

(a) music stands are amateurish

Rule 38
If you have nothing to say
don’t feel obliged to pretend you do

Rule 39
Respect your performers
Their job is 10 times more dangerous than yours

Rule 40
Never expect dogs, cats, birds or any other animals to do what you’d like them to do

(a) Sharka is an exception to this rule

Rule 41
Don’t quote other artists or productions unless you have to

Rule 42
Make up for a lack of (financial) means with an increase in imagination

Rule 43
A tight schedule can be difficult…
having too much time is worse

Rule 44
Less make-up is better

Rule 45
Less words are always better!

Rule 46
The more you know about “performance”
the tougher it gets to leave that knowledge behind
As soon as you do things “because you know how to do them”
you’re fucked

Rule 47
A “beautiful image”
can very well be the worst thing that can happen to your work

Rule 48
If you aren’t making art
you aren’t an artist
Work

Rule 49
If an idea doesn’t terrify you
if you aren’t fairly certain you will fail
it probably isn’t good enough

Rule 50
Know when your work is shit
Never be afraid to throw it all out and start over

Rule 51
Photographing is easy
Directing is hard
Neither is as hard as real work
So, never complain
No one will give you any sympathy anyway

Rule 52
Embrace mistakes
If you are working with good artists
they will use a mistake
make the work richer and more the stuff of life

Rule 53
Most bloggers are not critics
most are guys who can afford a laptop
Take them as seriously as that
even if they love you

Especially if they love you

Rule 54
A lot of critics are not qualified
they are just guardians of normalcy

(a) Susan Sontag was a genius

Rule 55
Don’t have style
Maybe you do
but you should never know what it is

(a) A performance should have a style
your job is to figure out what that is and execute it

Rule 56
Above everything else you are a story teller
Tell the story

Rule 57
When someone tells you something can’t be done
have patience and ask them to try it again

(a) maybe it can
if you just ignore one of your stupid rules

Rule 58
Be grateful
in failure or success

Rule 59
Be brave
if you aren’t brave
you are not an artists
and whether you are artists or not
that’s what you should strive to be

Rule 60
You are never the smartest person in the room
just the luckiest

F.A.Q

What is your artistic approach?

my core ideology maintains deep respect for the source material
and the individuals engaged with that material
a dedication to affordable quality
and consistency with the each performance
a commitment to community and environmental responsibility
a view that my artistic practice
contributes to the advancement and welfare of humanity

at the core of my practice are the following ideals…

a trust and respect for individuals
a focus on a high level of achievement and contribution
work with uncompromising integrity
achieve common objectives through teamwork
encourage flexibility and innovation

How do I find out about plans and future productions?

there’s a little scroll above… on the right
I also announce performances through social media

What does “Site Specific” mean?

New York City’s Guggenheim Museum’s offers this definition:
“Site-specific or Environmental art refers to an artist’s intervention in a specific locale, creating a work that is integrated with its surroundings and that explores its relationship to the topography of its locale, whether indoors or out, urban, desert, marine, or otherwise.”
that’s a good general description

Why do you describe the work as “Site Responsive”?

a sites environment and history informs my productions
artists construct each individual piece for a specific site
as such the productions are non transferable
the performance materials for each production
are constructed by the artists using existing resources within the site
for example
my production of Sophocles’ Sinon
constructed the Trojan Horse from material native to the site

How are you documenting your work?

in documenting my work I do not use Photoshop or “filters”…
I follow The National Press Photographers Association Code of Ethics
Some clauses from this code:

Be accurate and comprehensive in the representation of subjects.
Resist being manipulated by staged photo opportunities.
Be complete and provide context when photographing or recording subjects.
Avoid stereotyping individuals and groups.
Recognize and work to avoid presenting one’s own biases in the work.
Treat all subjects with respect and dignity.
While photographing subjects, do not intentionally contribute to, alter, or seek to alter or influence events.
Editing should maintain the integrity of the photographic images’ content and context. Do not manipulate images or add or alter sound in any way that can mislead viewers or misrepresent subjects.
Respect the integrity of the photographic moment.

CV

I. EDUCATION:

Ph.D., Stanford University, Drama and Humanities, 2007
Dissertation: The Image of Tragedy
A.B., Stanford University, 1997

II. SCREENWRITING PROJECTS
2015: The Land of Tears
2012: The Bikini War
2011:  Danger is My Destiny
2010: Al Khatun
2009: Tragedy of Hoffman
2008: Compadre
             The Lost Patrol
2007: The Traveling Beekers

III. THEATRE DIRECTING/PERFORMANCE PROJECTS
……………………………….2017
Sophocles’ Oedipus The King, trans. Anthony Burgess
(staged reading) in Fort Mason Chapel
for San Francisco International Arts Festival

Sophocles Unattributed Fragment #116 at Wave Organ
……………………………….2016
Sophocles, Nausicaä at Pillar Point
Euripides Unattributed Fragment #91 on Slacker Hill
Pray For Rain at Pulgas Water Temple, Artist Weather
……………………………….2015
Sophocles Unattributed Fragment #110 at San Gregorio
Aeschylus, The Argo at San Francisco Maritime
Euripides’ Unattributed Fragment (E.266), Aquatic Park
Aeschylus’ Glaucus of Potniae at Golden Gate Fields
Sophocles’ Sinon at Emeryville Mudflats
Aeschylus’ Daughters of Helios at Año Nuevo State Park
The Balcony by Jean Genet, Collected Works
……………………………….2014
King Fool, We Players
……………………………….2013
On The Harmful Effects of Tobacco by Anton Chekov, Franconia Performance Salon
……………………………….2004
The Blue Room by David Hare, Stanford University

……………………………….2003
Stray Cats by Warren Leight, Stanford University

Night of the Burning Pestle, Stanford University
2002
True West by Sam Shepard, Stanford University

……………………………….2001
Marat/Sade by Peter Weiss, Stanford University

……………………………….2000
The Revenger’s Tragedy by Cyril Tournour, Stanford University

Footfalls by Samuel Beckett, Stanford Repertory Theater
What Where by Samuel Beckett, Stanford University
Come and Go by Samuel Beckett, Stanford Univiersity
……………………………….1999
Mountain Language by Harold Pinter, Stanford University

Cowboy Mouth by Sam Shepard, Stanford University.
……………………………….1998
Aya no Tsuzumi, a Noh play, The Pulgas Water Temple, San Francisco Water Department

……………………………….1997
Rat by Sarah Warren, P.S. 122, New York City

Drain, a radio play by J.C. Lyons, KPFA Public Radio
Homeplus, by J.C. Lyons, Upstairs Garage, New York City

IV. OTHER PROFESSIONAL EXPERIENCE
2017: Instructor, d.school, Stanford University: “The Intersection of Performance, Architecutre & Design”
2017-: Trustee, Museum of Perfromance + Design, San Francisco
2015-: Artist Weather Television
2012-: Instructor, Prison University Project, San Quentin
2012-2015  Co-Founding Artistic Director, Collected Works
2009:  Founder, False Art
2005-2006: Teaching Fellow, Introduction to the Humanities, Stanford University
2004-2005: Lecturer, Theatre History I & II, University
2003: Lecturer, Theatre History I, Stanford University
2003: Instructor, Technology and Art, Stanford University
2003-2004: Instructor, Directing, Stanford University
2003-2004: Administrator, Performance Studies international
2002-2005: Instructor, Shakespeare from Stage to Screen, Stanford University
2002-2004: Instructor, Honors College, Stanford University
2001: Instructor, Sex Rites and Earth Rituals, Stanford University
2000-2001: Instructor, Introduction to Acting, Stanford University
2000: Instructor, Samuel Beckett’s Late Plays and Prose, Stanford University
2000-2001: Administrator, Stanford Summer Theater
1998-1999: Lecturer in Drama, Stanford University
1998: Production Manager for Mabou Mines at the Moscow Art Theatre, Moscow, Russia
1997-1999: Production Manager, Gospel of Colonus, Mabou Mines Production
1997-1998: Production Manager and Technical Director for Hajj, Mabou Mines Production, New York and Sao Paulo, Brazil
1996: Assistant in Drama (teaching the Director/Actor Relationship with Robert Egan) Stanford University
1993-1995: Assistant in Drama (teaching Small Group Communication with Anna Deavere Smith) Stanford University
1993: Production Assistant, Twilight: Los Angeles, 1992 for the Mark Taper Forum, Los Angeles

V. PUBLICATIONS
images for “Fantasy on the Clock: The Virtual Cruelty of Collected Works’ The Balcony” by Rebecca Chaleff,
TDR/The Drama Review, Summer 2016, Vol. 60, No. 2 , Pages 139-145

images for “The Balcony by Jean Genet (review)” by Kimberly Jannarone, Theatre Journal, Volume 67, Number 4, December 2015, pp. 729-731 (John Hopkins University Press, 2015)
images for “Performing Body Modifications,” by Andrew Henkes, Contemporary Performance: Theatricality Across Genres (Routledge, 2015)
images for Performing Proximity: Curious Intimacies by Leslie Hill & Helen Paris (Basingstoke: Palgrave Macmillan, 2014)
On Time, Performance Research, Volume 19, Issue 3, (Routledge, 2014)
Image of Tragedy (dissertation), (Stanford University, 2007)
“Rethinking the Cambridge Anthropologists.” Journal of Dramatic Theory and Criticism, Winter, 2004
“Lee Breuer’s Hajj as Postmortem Theater.” Journal of Dramatic Theory and Criticism, Winter, 2000
“Image of Scene: Oedipus Tyrannus, Ajax, and Philoctetes”. Comparative Drama, Spring 1998
*(photos) “Bill Ham: The Psychedelic Light Show,” Bomb Magazine, February, 1997
*(with Charles R. Lyons) “The Performance Work of Anna Deavere Smith and Contemporary Critical Theory,” Journal of Dramatic Theory and Criticism, Fall, 1994

VI. PUBLICATIONS FOR PHOTOGRAPHY
American Theatre
Broadway World
KQED
KQED Arts
Marin Independent Journal
PAJ: A Journal of Performance and Art
Palo Alto Weekly
Palo Alto Daily News
San Jose Mercury News
San Francisco Arts
San Francisco Bay Guardian
San Francisco Bay Times
San Francisco Chronicle

San Francisco Examiner

San Francisco Magazine
San Francisco Museum of Modern Art
SF Weekly
SFist
Stanford Magazine
Stanford Report
TDR: The Drama Review
The Huffington Post
The Idiolect
Theatre Bay Area
Theatre Journal

Wired Magazine

 

 

 

 

 

 

 

 

VII. OTHER PERFORMANCES & EXHIBITIONS
2016
Site Specific Design, Chocolate Heads’ Ghost Architecture: Palimpsest, Stanford University
Visual Artist, Yula Paluy’s Nothing is Sacred? Museum of Performance + Design, San Francisco
Chocolate Heads, Spring Charrette, Stanford University
Chocolate Heads, Flower at Windhover, Stanford University

2015
MAPP (Mission Arts Performance Project): Breaking Open The Prison Industrial Complex at Adobe Books, San Francisco, curated by Nathalie Brilliant
Building Scene: space launch and performance installation.  Architecture through Dance, Voice & Fashion in Commemoration of the Opening of the McMurtry Art and Art History Building, Stanford University
Video and Photos of The Iota (fragments of Aeschylus, Sophocles & Euripides) for FPS #14, at Museum of Performance + Design

Video and Photos of Collected Works production of The Balcony at The Old Mint for Sublimated Mask, at Museum of Performance + Design
Video Projection, Prototyping Festival, Market Street

2014
Performer, Inhabitant, Ntsoana Contemporary Dance Theatre, San Francisco Museum of Modern ArtYerba Buena Center for the Arts, and Galería de la Raza as part of Public Intimacy: Art and Other Ordinary Acts in South Africa and Live Projects 4

Dante’s Inferno, Cantos 1-7 (film), Franconia Performance Salon #12

2013
DJ/Dancer in Jerome Bel’s The Show Must Go On, Stanford Live
Video Projection & Lights for Building Score 101b, Performance Art Institute
Video Projection & Lights for Collected Works production of Gombrowicz’s Princess Ivona

VIII. AWARDS, GRANTS & FELLOWSHIPS
2005: Centennial Teaching Assistant Awards
1999-2006: Stanford University Fellowship
1994: Barbara Thompson Memorial Scholarship.
1994: Robert M. Golden Grant for Humanities and Creative Arts
1994: Appointed to Honors College, Stanford University
1993: James Irvine Foundation Grant
1993: Elston M. Harrison Memorial Scholarship

VIII. ORGANIZATIONS & AFFILIATIONS
National Press Photographers Association (NPPA), Modern Language Association (MLA), Reporters Without Borders, American Society for Theatre Research (ASTR), Performance Studies international (PSi), Association for Theatre in Higher Education (ATHE).

Bibliography

SITE SPECIFIC THEATRE BIBLIOGRAPHY

Acconci, Vito, and Gloria Moure. Vito Acconci. Barcelona: Polígrafa, 2001. Print.

Ackerman, Alan L, and Martin Puchner. Against Theatre: Creative Destructions on the Modernist Stage. New York, N.Y: Palgrave Macmillan, 2006. Print.

Agnew, John A, and James S. Duncan. The Power of Place: Bringing Together Geographical and Sociological Imaginations. Boston: Unwin Hyman, 1989. Print.

Ahearne, Jeremy, and Michel. Certeau. Michel De Certeau: Interpretation and Its Other. Stanford, Calif: Stanford University Press, 1995. Print.
Ahmed, Sara. The Cultural Politics of Emotion. New York : Routledge, 2015. Print.
— Queer Phenomenology: Orientations, Objects, Others. Durham: Duke University Press, 2006. Print.

Artaud, Antonin. The Theater and Its Double. New York: Grove Press, 1958. Print.
Augé, Marc. Non-places: Introduction to an Anthropology of Supermodernity. London: Verso, 1995. Print.

Babb, Genie. ‘Center and edge of the world: Frontiers of site-specific performance in Alaska’,TDR: The Drama Review52(3), 2008. pps. 61–78.

Bacon, Henry. ‘Blendings of real, fictional, and other imaginary people’,Projections3(1), 2009. pps. 77–99.

Bachelard, Gaston, and M Jolas. The Poetics of Space. New York: Penguin Books, 2014. Print.

Badiou, Alain, and Oliver Feltham. Being and Event. London [u.a.: Bloomsbury Academic, 2013. Print.

Banes, Sally, and André Lepecki. The Senses in Performance. New York: Routledge, 2007. Print.

Barba, Eugenio. The Paper Canoe: A Guide to Theatre Anthropology. London: Routledge, 1995. Print.

Becker, Carol. Surpassing the Spectacle: Global Transformations and the Changing Politics of Art. Lanham, Md: Rowman & Littlefield, 2002. Print.

Benjamin, Walter, Hannah Arendt, and Harry Zohn. Illuminations. New York: Harcourt, Brace & World, 1968. Print.

Benjamin, Walter, and Rolf Tiedemann. The Arcades Project. Cambridge, Mass: Belknap Press, 1999. Print.

Berghaus, Günter. Avant-garde Performance: Live Events and Electronic Technologies. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2005. Print.

Berlant, Lauren G. Intimacy. Chicago: University of Chicago Press, 2000. Print.

Birch, Anna, and Joanne Tompkins. Performing Site-Specific Theatre: Politics, Place, Practice. Houndmills, England; New York: Palgrave Macmillan, 2012. Print.

Birch, Anna ‘Performing research, cite, sight, site’, in Leora Farber (ed.), On Making: Integrating Approaches to Practice-Led Research in Art and Design. Johannesburg: Research Centre, Visual Identities in Art and Design, Faculty of Art Design and Architecture, University of Johannesburg, 2010. Print. pp.127–36.

Bishop, Claire. Delegated Performance: Outsourcing Authenticity. October 2012, No. 140, pps. 91-112
— Installation Art: A Critical History. New York: Routledge, 2005. Print.

Blair, S. and M. Truscott ‘Cultural landscapes: Their scope and the irrecognition’,Historic Environment7(2), 1989. pps. 3–8.

Blau, Herbert. The Audience. Baltimore: Johns Hopkins University Press, 1990. Print.
— To All Appearances: Ideology and Performance. New York: Routledge, 1992. Print.

Bleeker, Maaike. Visuality in the Theatre: The Locus of Looking. Basingstoke [England: Palgrave Macmillan, 2008. Print.

Bloch, Ernst. Heritage of Our Times. Berkeley: University of California Press, 1991. Print.

Boal, A. Boal, Augusto. Theatre of the Oppressed. London: Pluto Press, 2013. Print.
— Games for Actors and Non-Actors. London: Routledge, 1992. Print.

Boal, Augusto, Adrian Jackson, and Candida Blaker. Hamlet and the Baker’s Son: My Life in Theatre and Politics. London: Routledge, 2001. Print.

Boon, Richard, and Jane Plastow. Theatre and Empowerment: Community Drama on the World Stage. Cambridge, UK: Cambridge University Press, 2004. Print.

Brand, Stewart. How Buildings Learn: What Happens After They’re Built. New York, NY: Viking, 1994. Print.

Braidotti, Rosi. Nomadic Subjects: Embodiment and Sexual Difference in Contemporary Feminist Theory. New York: Columbia University Press, 2011. Print.

Brook, Peter. The Empty Space. New York: Atheneum, 1968. Print.

Brown, Ross. Sound: A Reader in Theatre Practice. Basingstoke: Palgrave Macmillan, 2010. Print.

Butler, Judith. Bodies That Matter: On the Discursive Limits of “sex”. New York: Routledge, 1993. Print.

Cage, John. Silence: Lectures and Writings. Middletown, Conn: Wesleyan University Press, 1961. Print.
Cage, John, and Daniel Charles. For the Birds. Boston: Marion Boyars, 1981. Print.

Calvino, Italo. Invisible Cities. New York: Harcourt Brace Jovanovich, 1974. Print.

Casey, Edward S. Getting Back into Place: Toward a Renewed Understanding of the Place-World. Bloomington: Indiana University Press, 1993. Print.

Chaudhuri, Una. Staging Place: The Geography of Modern Drama. Ann Arbor: University of Michigan Press, 1995. Print.

Cohen-Cruz, Jan. Radical Street Performance: An International Anthology. London: Routledge, 1998. Print.

Collins, Jane. and Andrew Nisbet. ‘Looking: The experience of seeing’, in Jane Collins and Andrew Nisbet (eds),Theatre and Performance Design: A Reader in Scenography. London: Routledge, 2010. Print. pp.5–10.

Connerton, Paul. How Societies Remember. Cambridge [England: Cambridge University Press, 1989. Print.

Coult, Tony, and Baz Kershaw. Engineers of the Imagination: The Welfare State Handbook. London: Methuen, 1983. Print.
Crimp, Douglas, and Louise Lawler. On the Museum’s Ruins. Cambridge, Mass: MIT Press, 1993. Print.

Davis, Tracy C, and Thomas Postlewait. Theatricality. Cambridge: Cambridge University Press, 2003. Print.

Certeau, Michel, and Steven Rendall. The Practice of Everyday Life. Berkeley: University of California Press, 1984. Print.

Debord, Guy. The Society of the Spectacle. New York: Zone Books, 1994. Print.
Debord, Guy.‘Theory of the Derive’ in Knabb, Ken. Situationist International Anthology. Berkeley, CA: Bureau of Public Secrets, 2006. Print. 50–54.

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

Derrida, Jacques. Of Grammatology. Baltimore: Johns Hopkins University Press, 1976. Print.
Deutsche, Rosalyn. Evictions: Art and Spatial Politics. Chicago, Ill: Graham Foundation for Advanced Studies in the Fine Arts, 1996. Print.

Diamond, Elin. Unmaking Mimesis: Essays on Feminism and Theater. London: Routledge, 1997. Print.
— Performance and Cultural Politics. London: Routledge, 1996. Print.

Downey, A. ‘An ethics of engagement: Collaborative art practices and the return of the ethnographer’,Third Text23(5), 2009. 593–603.

Duchamp, Marcel. The Essential Writings of Marcel Duchamp: Salt Seller = Marchand Du Sel. London: Thames and Hudson, 1975. Print.

Eckersall, Peter. Theorizing the Angura Space: Avant-garde Performance and Politics in Japan, 1960-2000. Leiden: Brill, 2006. Print.

Elam, Keir. The Semiotics of Theatre and Drama. London: Methuen, 1980. Print

Escolme, Bridget. Talking to the Audience: Shakespeare, Performance, Self. New York: Routledge, 2005. Print.
Etchells, Tim. Certain Fragments: Contemporary Performance and Forced Entertainment. London: Routledge, 1999. Print.

Ewald, Wendy, and Louise Neri. Towards a Promised Land. Göttingen: Steidl, 2006. Print.

*Field, Andy. “‘Site-Specific Theatre’? Please Be More Specific”. The Guardian 2008. http://www.theguardian.com/stage/theatreblog/2008/feb/06/sitespecifictheatrepleasebe

Fischer-Lichte, Erika. The Transformative Power of Performance: A New Aesthetics. New York: Routledge, 2008. Print.

Foucault, Michel. ‘Of other spaces’ The Essential Works of Michel Foucault, 1954-1984. New York: New Press, 1997. Print.
— The Order of Things: An Archaeology of the Human Sciences. New York: Pantheon Books, 1971. Print.

*Fragments & Monuments http://wollstonecraftlive.com/fm/

Freeman, John. New Performance/new Writing. Basingstoke: Palgrave Macmillan, 2007. Print.

Freshwater, Helen. Theatre & Audience. Houndmills, Basingstoke, Hampshire, UK: Palgrave Macmillan, 2009. Print.

Fried, Michael. Art and Objecthood: Essays and Reviews. Chicago: University of Chicago Press, 1998. Print.

Friel, Brian. Translations. London: Faber & Faber, 1981. Print.

Fuchs, Elinor, and Una Chaudhuri. Land/scape/theater. Ann Arbor: University of Michigan Press, 2002. Print.

*Gardner, L. (2009) ‘How intimate theatre won our hearts’,Guardian,G2,12 August, p.22. http://www.theguardian.com/culture/2009/aug/11/intimate-theatre-edinburgh

Goldberg, RoseLee, Performance: Live Art since the 60s. London: Thames and Hudson, 1998. Print.
——, Performance Art: From Futurism to the Present. New York: H.N. Abrams, 1988. Print.

Govan, Emma, Helen Nicholson, and Katie Normington. Making a Performance: Devising Histories and Contemporary Practices. London: Routledge, 2007. Print.

Gumbrecht, Hans U. Production of Presence: What Meaning Cannot Convey. Stanford, Calif: Stanford University Press, 2004. Print.

Guerrilla Theater Essays: 1: A Publication of the San Francisco Mime Troupe. San Francisco: San Francisco Mime Troupe, 1970. Print.

Haacke, Hans, John Walton, Jack Burnham, and Howard S. Becker. Framing and Being Framed: 7 Works, 1970-1975. Halifax: Press of the Nova Scotia College of Art and Design, 1975. Print.

Halling, Steen. Intimacy, Transcendence, and Psychology: Closeness and Openness in Everyday Life. New York: Palgrave Macmillan, 2008. Print.

Halprin, Anna, and Rachel Kaplan. Moving Toward Life: Five Decades of Transformational Dance. Hanover, N.H: Wesleyan University Press, 1995.

Halprin, Lawrence, Randy Gragg, Janice Ross, John Beardsley, and Susan Seubert. Where the Revolution Began: Lawrence and Anna Halprin and the Reinvention of Public Space. Washington, DC: Spacemaker Press, 2009. Print.

Hansen, Al. A Primer of Happenings & Time/space Art. New York: Something Else Press, 1965. Print.

Hapgood, Susan, Maurice Berger, and Jill Johnston. Neo-dada: Redefining Art, 1958-1962. New York: American Federation of Arts in association with Universe Pub, 1994. Print.

Harbison, Robert. Eccentric Spaces. MIT Press, 2000. Print.

Hartley, A J. Shakespeare and Political Theatre in Practice. Basingstoke, Hampshire, UK: Palgrave Macmillan, 2013. Print.

Harvey, David. Spaces of Capital: Towards a Critical Geography. New York: Routledge, 2001. Print.
— Spaces of Hope. Berkeley: University of California Press, 2000. Print.

Heidegger, Martin. Being and Time. New York: Harper, 1962. Print.

Hill, Leslie, and Helen Paris. Performance and Place. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2006. Print.

Hillier, Bill. Space Is the Machine: A Configurational Theory of Architecture. Cambridge: Cambridge University Press, 1996. Print.

Hobbs, Robert, Lawrence Alloway, and Robert Smithson. Robert Smithson — Sculpture. Ithaca: Cornell University Press, 1981. Print.

Hopkins, D J, Shelley Orr, and Kim Solga. Performance and the City. Houndmills: Palgrave Macmillan, 2009. Print.

Houston, Andrew. Environmental and Site-Specific Theatre. Toronto, Canada: Playwrights Canada Press, 2007. Print.

Hunter, Victoria. Moving Sites: Investigating Site-Specific Dance Performance. London: Routledge, 2015. Print.
—‘Embodying the site: The here and now in site-specific dance performance’,New Theatre Quarterly21(4), 2005. 367–81.

Innes, Christopher. Holy Theatre: Ritual and the Avant Garde. Cambridge, England: Cambridge University Press, 1981. Print.

Jameson, Fredric. Postmodernism, Or, the Cultural Logic of Late Capitalism. Durham: Duke University Press, 1991. Print.

Jencks, Charles. Post-modernism: The New Classicism in Art and Architecture. New York: Rizzoli, 1987. Print.

Jowitt, Deborah. Meredith Monk. Baltimore: Johns Hopkins University Press, 1997. Print.

Kahn, Douglas. and Gregory Whitehead ‘Preface’, in Kahn, Douglas, and Gregory Whitehead. Wireless Imagination: Sound, Radio, and the Avant-Garde. Cambridge, Mass: MIT Press, 1992. Print. pp.ix–xi.

Kaprow, Allan. Assemblages, Environments, Happenings. New York, N.Y: Abrams, 1965. Print.
—— Some Recent Happenings. New York: Something Else Press, 1966. Print

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

Kaprow, A. and Schechner, R. ‘Extensions in Time and Space’, Drama Review 12, 2: 153–9.

Kastner, Jeffrey, and Brian Wallis. Land and Environmental Art. London: Phaidon Press, 1998. Print.

Kaye, Nick. Site-specific Art: Performance, Place and Documentation. London [u.a.: Routledge, 2000. Print.
—Art into Theatre: Performance Interviews and Documents. Netherlands: Harwood Academic Publishers, 1996. Print.
—Postmodernism and Performance. New York: St. Martin’s Press, 1994. Print.

Kershaw, Baz. Kershaw, Baz. Theatre Ecology: Environments and Performance Events. Cambridge: Cambridge University Press, 2007. Print.
— The Radical in Performance: Between Brecht and Baudrillard. London: Routledge, 1999. Print.

Kester, Grant H. Conversation Pieces: Community and Communication in Modern Art. Berkeley: University of California Press, 2004. Print.
—‘Aesthetic evangelists: Conversion and empowerment in contemporary community art’,Afterimage, 22(6), 1995. 5–11.

Kirby, Michael, and Jim Dine. Happenings. New York: Dutton, 1965. Print.

Klaić, Dragan. Resetting the Stage: Public Theatre between the Market and Democracy. Bristol: Intellect, 2012. Print.

Kloetzel, M. ‘Site-specific dance in a corporate landscape’,New TheatreQuarterly26(2), 2010. 133–44.

Kostelanetz, Richard. Essaying Essays: Alternative Forms of Exposition. 1975. Print.
— The Theatre of Mixed Means: An Introduction to Happenings, Kinetic Environments, and Other Mixed-Means Performances. New York: Dial Press, 1968. Print.

Kwon, Miwon. One Place After Another: Site-specific Art and Locational Identity. Cambridge, Mass: MIT, 2004. Print.

la Cecla, F. Getting Lost and the Localized Mind in Read, Alan. Architecturally Speaking: Practices of Art, Architecture, and the Everyday. London: Routledge, 2000. Print. pp 31-48.

LaBelle, Brandon. Background Noise: Perspectives on Sound Art. New York: Continuum International, 2006. Print.

Lajer-Burcharth, E. (1987) ‘Urban Disturbances’, Art in America 75, 11:146–53, 197.

Lefebvre, Henri. The Production of Space. Oxford, OX, UK: Blackwell, 1991. Print.
—Rhythmanalysis: Space, Time and Everyday Life. London: Continuum, 2004. Print

Lefebvre, Henri, Eleonore Kofman, and Elizabeth Lebas. Writings on Cities. Cambridge, Mass, USA: Blackwell Publishers, 1996. Print.

Lehmann, Hans-Thies, and Karen Jürs-Munby. Postdramatic Theatre. 2006. Print.

Levin, D. T. and C. Wang (2009) ‘Spatial representation in cognitive science and film’,Projections3(1), 24–52.

Lind, Maria (‘The collaborative turn’, in Billing, Johanna, Maria Lind, and Lars Nilsson. Taking the Matter into Common Hands: On Contemporary Art and Collaborative Practices. London, UK: Black Dog Publishing, 2007. Print. pp.15–31.

Linker, Kate, and Vito Acconci. Vito Acconci. New York: Rizzoli, 1994. Print.

Lynch, Kevin. The Image of the City. Cambridge, Mass: MIT Press, 1960. Print.

Mackey, S. ‘Performance, place and allotments: Feast or famine?’,Contemporary Theatre Review17, 2007. 181–91.

Mackintosh, Iain. Architecture, Actor and Audience. S.l.: Routledge, 2015. Print.

Marcus, George E, and Fred R. Myers. The Traffic in Culture: Refiguring Art and Anthropology. Berkeley: University of California Press, 1995. Print.

Martin, L. (1990) ‘Transpositions: On the Intellectual Origins of Tschumi’s Architectural Theory’, Assemblage 11: 23–36.

Mason, Bim. Street Theatre and Other Outdoor Performance. London: Routledge, 1992. Print.

Massey, Doreen B. Space, Place, and Gender. Minneapolis: University of Minnesota Press, 1994. Print.
— Spatial disruptions’, in Sue Golding (ed.),The Eight Technologies of Otherness. London: Routledge, 1997. Print. pp.218–25.
— Space-time and the politics of location in Read, A. (ed) Architecturally Speaking: Practices of Art, Architecture, and the Everyday. London: Routledge, 2000. Print. pp 49-61.

May, Jon, and N J. Thrift. Timespace: Geographies of Temporality. London: Routledge, 2001. Print.

McAuley, Gay. Space in Performance: Making Meaning in the Theatre. Ann Arbor: University of Michigan Press, 1999. Print.

McAuley, G. (ed.) (2006)Unstable Ground: Performance and the Politics of Place(Bruxelles: P.I.E. Lang).

McCauley, R. (1993) ‘Mississippi freedom: South and north’,Theater24(2), 88–98.

McEvoy, William. ‘Writing, texts and site-specific performance in the recent work of Deborah Warner’,Textual Practice20(4), 591.

Morris, Robert. Continuous Project Altered Daily: The Writings of Robert Morris. Cambridge, Mass: MIT Press, 1993. Print.

Nietzsche, Friedrich W, and Walter A. Kaufmann. Thus Spoke Zarathustra: A Book for All and None. New York: Modern Library, 1995. Print.

O’Doherty, Brian. Inside the White Cube: The Ideology of the Gallery Space. Berkeley: University of California Press, 1999. Print.

Ngũgĩ wa Thiong’o. “Enactments of Power: The Politics of Performance Space”. TDR (1988-) 41.3 (1997): 11–30.

Nield, S. (2006) ‘On the border as theatrical space: Appearance, dislocation and the production of the refugee’, in Joe Kelleher and Nicholas Ridout (eds), Contemporary Theatres in Europe: A Critical Companion. London: Routledge, 2006. Print. pp.61–72.

O’Donnell, Darren. Social Acupuncture: A Guide to Suicide, Performance and Utopia. Toronto: Coach House Books, 2008. Print.

Oldenburg, Claes. ‘A Statement’ in Kirby, Michael, Jim Dine, Red Grooms, Allan Kaprow, and Claes Oldenburg. Happenings, an Illustrated Anthology. New York: E. P. Dutton & Co, 1966. Print. 200–3.

Oldenburg, Claes, and Emmett Williams. Store Days: Documents from the Store, 1961, and Ray Gun Theater, 1962. New York: Something Else Press, 1967. Print

Oppenheim, Dennis, Alanna Heiss, and Thomas McEvilley. Dennis Oppenheim: Selected Works, 1967-90 : and the Mind Grew Fingers. New York: Institute for Contemporary Art, P.S. 1 Museum, in association with Harry N. Abrams, 1992. Print.

Parks, Suzan-Lori. ‘Possession’, in The America Play, and Other Works. New York: Theatre Communications Group, 1995. pp. 3-5. Print.

Pearson, Mike. Site-specific Performance. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2010. Print.
— Special worlds, secret maps: A poetics of performance’, in Taylor, Anna-Marie. Staging Wales: Welsh Theatre 1979-1997. Cardiff: University of Wales Press, 1997. Print. pp.95–6.

Pearson, Mike, and Michael Shanks. Theatre/archaeology: Disciplinary Dialogues. London: Routledge, 2001. Print.

Pizzato, Mark. Ghosts of Theatre and Cinema in the Brain. New York, N.Y: Palgrave Macmillan, 2006. Print.

Plant, Sadie. The Most Radical Gesture: The Situationist International in a Postmodern Age. London [etc.: Routledge, 2006. Print.

Rainer, Y. (1974 [1968]) ‘A Quasi Survey of Some “Minimalist” Tendencies in the Quantitatively Minimal Dance Activity Midst the Plethora, or an Analysis of Trio A in Yvonne Rainer Work 1961–73, Halifax, Nova Scotia: Nova Scotia College of Art and Design, 63–74.

Rancière, Jacques. The Politics of Aesthetics: The Distribution of the Sensible. London: Continuum, 2004. Print..

Rancière, Jacques, and Gregory Elliott. The Emancipated Spectator. London: Verso, 2009. Print.

Rancière, Jacques, and Steve Corcoran. Dissensus: On Politics and Aesthetics. London: Bloomsbury Academic, 2015. Print.

Relph, E C. Place and Placelessness. London: Pion, 1976. Print.

Rogers, Steve. ‘Showing the Wires: Interview with Julian Maynard Smith’, Performance Magazine 56–7: 9–14.

Rose, Gillian. ‘Performing space’, in Massey, Doreen B, John Allen, and Philip Sarre. Human Geography Today. Cambridge, UK: Polity Press, 1999. Print.

Rosenberg, Harold. The Tradition of the New. New York: Horizon Press, 1959. Print.

Said, Edward W. Culture and Imperialism. New York: Knopf, 1993. Print.

Schafer, R M. The Soundscape: Our Sonic Environment and the Tuning of the World. Rochester, Vt: Destiny Books, 1994. Print.

Schechner, Richard. (1968) ‘6 axioms for environmental theatre’,TDR: The DramaReview12(3), 41–64.

Sedgwick, Eve K, and Adam Frank. Touching Feeling: Affect, Pedagogy, Performativity. Durham: Duke University Press, 2003. Print.

Serra, Richard. Writings, Interviews. Chicago: University of Chicago Press, 1994. Print.

Serres, Michel, and Bruno Latour. Conversations on Science, Culture, and Time. Ann Arbor: University of Michigan Press, 1995. Print.

Shanks, Michael. Experiencing the Past: On the Character of Archaeology. London: Routledge, 1992. Print.

Shapiro, Gary. Earthwards: Robert Smithson and Art After Babel. Berkeley: University of California Press, 1995. Print.

Shields, Rob. Places on the Margin: Alternative Geographies of Modernity. London: Routledge, 1991. Print.

Smithson, Robert and Wheeler, D. ‘Four Conversations Between Dennis Wheeler and Robert Smithson’ in Smithson, Robert, and Jack D. Flam. Robert Smithson, the Collected Writings. Berkeley: University of California Press, 1996. Print. 196–233.

Soja, Edward W. Postmodern Geographies: The Reassertion of Space in Critical Social Theory. London: Verso, 1989. Print.

States,Bert 0. Performance as Metaphor. Theatre Journal 48,1,1996.
—Dreaming and Storytelling. Ithaca: Cornell University Press, 1993. Print.
—Great Reckonings in Little Rooms: On the Phenomenology of Theater. Berkeley: University of California Press, 1985. Print.

Andreas, Steve. Awareness: Exploring, Experimenting, Experiencing. Lafayette, Calif.: Real People Press, 1971. Print.

Strickland, E. ‘Voices/Visions: An Interview with Meredith Monk’ in Deborah Jowitt (ed.) Meredith Monk, Baltimore: Johns Hopkins University Press, 1997. pps. 133–55.

Styles, Elizabeth A. The Psychology of Attention. Hove: Psychology Press, 2008. Print.

Taussig, Michael T. Mimesis and Alterity: A Particular History of the Senses. New York: Routledge, 1993. Print.

Taylor, Diana. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham: Duke University Press, 2003. Print.

Truax, Barry. Acoustic Communication. Westport, Conn: Ablex, 2001. Print.

Tschumi, Bernard. The Manhattan Transcripts. London: Academy Editions, 1994. Print.

Tuan, Yi-fu. Space and Place: The Perspective of Experience. Minneapolis: University of Minnesota Press, 1977. Print.

Tufnell, Ben. Land Art. London: Tate Publishing, 2006. Print.

Turner, Cathy. Dramaturgy and Architecture: Theatre, Utopia and the Built Environment. Houndmills, Basingstoke, Hampshire; New York, NY: Palgrave Macmillan, 2015. Print.

Turner, Cathy. “Palimpsest Or Potential Space? Finding A Vocabulary For Site-Specific Performance”. New Theatre Quarterly 20.04 (2004): 373-390.

Urry, John. The Tourist Gaze. Los Angeles: SAGE, 2011. Print.

Vostell, W. décollage happenings translated by Laura P. Williams, New York: Something Else Press, 1966.
—— Miss Vietnam and texts of other happenings, San Francisco: Nova Broadcast Press, 1968.

PERFORMANCE PHOTOGRAPHY BIBLIOGRAPHY

Alvarado, Manuel, Edward Buscombe, and Richard Collins. Representation and Photography: A Screen Education Reader. Houndmills, Basingstoke, Hampshire: Palgrave, 2001. Print.

Azoulay, Ariella, Rela Mazali, and Ruvik Danieli. The Civil Contract of Photography. New York: Zone Books, 2008. Print.

Barthes, Roland. Camera Lucida: Reflections on Photography. New York: Hill and Wang, 1981. Print.

Berger, John. About Looking. New York: Pantheon Books, 1980. Print.

Bhabha, Homi K. The Location of Culture. London: Routledge, 1994. Print.

Bolton, Richard. The Contest of Meaning: Critical Histories of Photography. Cambridge, Mass: MIT Press, 1989. Print.

Bouvier, Nicolas, Michèle Mercier, and François Bugnion. Focus on Humanity: A Century of Photography : Archives of the International Committee of the Red Cross. Geneva: Skira, 1995. Print.

Butler, Judith. “Photography, War, Outrage.” Pmla. 120.3 (2005): 822-827. Print.
— “Torture and the Ethics of Photography.” Environment and Planning D: Society and Space. 25.6 (2007): 951-966. Print.
— Excitable Speech: A Politics of the Performative. New York: Routledge, 1997. Print.

Burnett, David, Robert Pledge, and Jacques Menasche. 44 Days: Iran and the Remaking of the World. Washington D.C: National Geographic Society, 2009. Print.

Carlebach, Michael L. The Origins of Photojournalism in America. Washington: Smithsonian Institution Press, 1992. Print.

Daston, Lorraine and Peter Galison, “The Image of Objectivity,” Representations 1992, 40: 81-128.

Hariman, Robert, and John L. Lucaites. No Caption Needed: Iconic Photographs, Public Culture, and Liberal Democracy. Chicago: University of Chicago Press, 2007. Print.

Herman, Edward S, and Noam Chomsky. Manufacturing Consent: The Political Economy of the Mass Media. New York: Pantheon Books, 1988. Print.

Goldberg, Vicki. The Power of Photography: How Photographs Changed Our Lives. New York: Abbeville Press, 1991. Print.

Burgin, Victor. Thinking Photography. London: Macmillan, 1982. Print.

Burnett, Ron. Cultures of Vision: Images, Media and the Imaginary. Bloomington: Indiana University Press, 1995. Print.

Brennen, Bonnie, and Hanno Hardt. Picturing the Past: Media, History, and Photography. Urbana: University of Illinois Press, 1999. Print.

Chouliaraki, Lilie. The Spectatorship of Suffering. London: SAGE Publications, 2006. Print.

Marinovich, Greg, and João Silva. The Bang-Bang Club: Snapshots from a Hidden War. New York: Basic Books, 2000. Print.

McCullin, Don, and Lewis Chester. Unreasonable Behaviour: An Autobiography. New York: Knopf, 1992. Print.

McLuhan, Marshall. Understanding Media: The Extensions of Man. , 1964. Print.

Mendelson, Andrew L, and Zizi Papacharissi. “Reality Vs. Fiction How Defined Realness Affects Cognitive & Emotional Responses to Photographs.” Visual Communication Quarterly. 14.4 (2007): 231-243. Print.

Mirzoeff, Nicholas. An Introduction to Visual Culture. London: Routledge, 1999. Print.

Mitchell, W J. T. Picture Theory: Essays on Verbal and Visual Representation. Chicago: University of Chicago Press, 1994. Print.

Ritchin, Fred. After Photography. New York: W.W. Norton, 2009. Print.

Schwartz, Joan M, and James R. Ryan. Picturing Place: Photography and the Geographical Imagination. London: I.B. Tauris, 2003. Print.

Said, Edward W. Orientalism. New York: Vintage Books, 1979. Print.

Scarry, Elaine. The Body in Pain: The Making and Unmaking of the World. New York: Oxford University Press, 1985. Print.

Sontag, Susan. Regarding the Pain of Others. New York: Farrar, Straus and Giroux, 2003. Print.
— “Looking at War”. The New Yorker (9 December, 2002): 82-98.
— On Photography. New York: Farrar, Straus and Giroux, 1977. Print.

Strauss, David L, and John Berger. Politica Della Fotografia. Milano: Postmedia books, 2007. Print.

.
jamie lyons, theatre, theater, stanford, university, theater and performance studies, collected works, iota, we players, chocolate heads, san francisco, bay area, director, photography, site specific, art, artist, teacher, drama, tragedy, scholar, academic, performance, live art

Manifesto

i don’t have one
all i have are rules
but why not try one of these?

“Notes to myself on beginning a painting” by Richard Diebenkorn
How to work better Fischli & Weiss
The Stuckists Manifesto
The Dada Manifesto by Hugo Ball
The Dada Manifesto by Tristan Tzara
First Things First Manifesto
The Orgasm Manifesto
The Manifesto of Negativity
Permanent Manifesto Art and Communication
John Cage’s 10 Rules
Ten Commandments for Gilbert & George
Manifesto of the Empress Catherine II