Local Acts: Community-Based Performance in the United States

By Jan Cohen-Cruz | Go to book overview

ACKNOWLEDGMENTS

WRITING THIS book has catapulted me into deeper exchange with a number of practitioners and scholars I have long admired. They include Arlene Goldbard, Bill Rauch, Bruce McConachie, Caron Atlas, Dave Firney, Donna Porterfield, Ferdinand Lewis, Jawole Willa Jo Zollar, Joan Schirle, John Borstel, John O’Neal, Kathie deNobriga, Lisa Mount, Liz Lerman, Mark McKenna, Mark Valdez, Maryo Ewell, Michael Keck, Nayo Watkins, Peggy Pettitt, Peter Howard, Rosalba Rolon, Shishir Kurup, Sonja Kuftinec, Steve Kent, Suzanne Lacy, and Theresa Holden, among others. I am indebted to all the ensembles and artists I write about for performances and projects that have expanded my understanding of the field.

I appreciate the generosity of Pam Korza and Barbara Schaffer Bacon for inviting me to many an Animating Democracy Initiative Learning Exchange, where learn and exchange I emphatically did. Special thanks to Linda Burnham for reading this manuscript sooner rather than later and, along with her partner, Steve Durland, for providing the field with first High Performance and now the Community Arts Network. Conversations with Dudley Cocke have greatly enhanced my work on this book and have inspired future plans. Interaction with Bob Leonard and Ann Kilkelly, especially around Performing Communities: The Grassroots Ensemble Theater Research Project, has been most rewarding. My ongoing exchange with Mady Schutzman has been an indirect, but no less important, influence on this project. I am grateful to Julie Salverson for sharing her work on testimony with me. Andrea Assaf offered a sharp perspective on several of these chapters. I am grateful to Lucy Winner for making time to read this manuscript in an exceptionally busy schedule. I thank Lucy Lippard for years of inspiration through her own terrific writing and for her generosity in reading the first draft of this book. “Guerrilla moments” with Susan Ingalls energized me at moments when the writing was particularly demanding. Thanks to Vicky Chapman, who got me out of the house for morning walks, shared general insights about writing, and printed out manuscript drafts. David Schechter once again came up with a title. I am beholden to Deborah Mutnick, who has been my writing partner, sounding board, and friend throughout the period of developing this manuscript.

-xi-

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Local Acts: Community-Based Performance in the United States
Table of contents

Table of contents

  • Title Page iii
  • Contents vii
  • List of Illustrations ix
  • Acknowledgments xi
  • Introduction 1
  • Part One - Legacies 15
  • Chapter 1 - Early Antecedents 17
  • Chapter 2 - Motion of the Ocean 35
  • Chapter 3 - Establishing the Field 60
  • Part Two - Principles 79
  • Chapter 4 - Between Ritual and Art 81
  • Chapter 5 - Criticism 105
  • Part Three - Methodologies 127
  • Chapter 6 - Storytelling 129
  • Chapter 7 - Performance Structures 153
  • Closing- Boundary Jumping 181
  • Notes 191
  • Bibliography 195
  • Index 205
  • About the Author 213
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