By Guillermo Gómez Peña
In Exercises for insurgent Artists, Guillermo Gomez-Pena and Roberto Sifuentes use their huge instructing and function event with l. a. Pocha Nostra to aid scholars and practitioners to create ‘border art’.
Designed to take readers correct into the guts of radical functionality, the authors use a chain of an important sensible routines, honed in workshops all over the world, to aid create not easy theatre which transcends the bounds of country, gender, and racial identity.
The publication features:
- Detailed routines for utilizing Pocha Nostra tools in workshops
- Inspirational techniques for someone growing, generating or educating radical performance
- A step by step advisor for large-scale crew performance
- New, unpublished images of the Pocha Nostra procedure in practice
Exercises for insurgent Artists advocates educating as a major kind of activism and as an extension of the functionality aesthetic. it truly is a vital textual content for somebody who desires to learn the way use functionality to either problem and change.
Read Online or Download Exercises for Rebel Artists: Radical Performance Pedagogy PDF
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Additional resources for Exercises for Rebel Artists: Radical Performance Pedagogy
If the workshop is open to both local and international artists, as often happens in our summer schools, then the host institution will curate the local group and La Pocha will curate the international guests. It is very important to us that the “call for participants” is circulated throughout the most diverse communities. 1 We never really conduct “auditions” in the traditional theater sense. Candidates are asked to submit a statement of purpose, a brief biog, and a sample of their work, and the selection is made according to multiple criteria including their stated desire to experiment and collaborate, the nature of their support material, the content of recommendation letters, and the level of aesthetic and conceptual kinship with our work.
In parts 2 to 5 instructions are given as if to a facilitator. This distinction is unavoidable, though we wish to blur the lines between instructor and participant as much as possible, the more complex exercises require an outside eye and therefore someone must take on the role of facilitator. This could be any member of the group as long as they have read the background information and understand the purpose of the exercise. The facilitator/s of the exercises should feel free to adapt our descriptive pedagogical language to their own voice and teaching style.
They can also help us in advance by locating “dangerous-looking props” that out-of-town artists can’t travel with such as replicas of weapons, medical instruments, and prosthetics. The more serious “toys” we have to play with the better. An area for laying out props and costumes becomes vital. This “station” can be created with two or three worktables and two clothes racks essential for laying out props and costumes. If there are no mirrors on the walls, we will need a full-body portable mirror in this area.