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Disability, Public Space Performance and Spectatorship: Unconscious Performers

B. Hadley

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Palgrave Macmillan
31 March 2014
Art & design styles: from c 1960; Performance art; Theatre Studies; Disability: social aspects
In Disability, Public Space Performance and Spectatorship: Unconscious Performers, Bree Hadley examines the performance practices of disabled artists in the US, UK, Europe and Australasia who re-engage, re-enact and re-envisage the stereotyping they are subject to in the very public spaces and places where this stereotyping typically plays out.
By:   B. Hadley
Imprint:   Palgrave Macmillan
Country of Publication:   United Kingdom
Dimensions:   Height: 216mm,  Width: 140mm,  Spine: 17mm
Weight:   3.845kg
ISBN:   9781137396075
ISBN 10:   1137396075
Pages:   228
Publication Date:   31 March 2014
Audience:   Professional and scholarly ,  Undergraduate
Format:   Hardback
Publisher's Status:   Active

Bree Hadley is Senior Lecturer in Performance Studies in the Creative Industries Faculty at Queensland University of Technology in Brisbane, Australia. Her research investigates the construction of identity in contemporary, pop cultural and public space performance practices, concentrating particularly on the way spectators are positioned as co-performers in these practices.

Reviews for Disability, Public Space Performance and Spectatorship: Unconscious Performers

Bree Hadley's study of disability performance and spectatorship marks a maturing of the field, a moment which takes stock of the interventions disabled performance artists make in public - and, more specifically, how they can help us redefine and rethink notions of the 'public sphere'. Through grounded and exciting case studies of installation, live art, public space interventions and online public arenas, Hadley shows the challenges disabled artists offer to a mainstream that still wishes to keep disability contained. This book will offer indispensable insights to social practice artists who create encounters as the basis of their art practice, to their critics and their involved observers. - Petra Kuppers, University of Michigan, USA


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