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• Preface. Acknowledgments. Introduction.
• 1. All in the Family: Lincoln Center and Its Constituents. Music Theater at Lincoln Center. The Film Society of Lincoln Center. The Chamber Music Society of Lincoln Center. Lincoln Center Theater. School of American Ballet. Jazz at Lincoln Center.
• 2. Filling Programming Gaps: Lincoln Center Presents. Great Performers. Mostly Mozart Festival. Lincoln Center Festival. American Songbook. Live from Lincoln Center. Community Programming. Childrena s Programming. Lincoln Center Institute for the Arts in Education.
• 3. The Changing Campus: Architecture and Art Serve the Community. The Rose Building. The New York State Theater. Avery Fisher Hall. The Visual Arts.
• 4. Making Things Happen: Leadership at Lincoln Center. Amyas Ames. Martin E. Segal. George Weissman. Beverly Sills. Bruce Crawford. Frank A. Bennack Jr.
• 5. A New Look: Redevelopment and Renewal. Chronology 1955a
• 2006. Lincoln Center for the Performing Arts, Inc. Board of Directors. Senior Staff. Lincoln Center Council. Notes. Credits. Index.
• (source: Nielsen Book Data)

This book chronicles the major milestones in the artistic, physical, and administrative history of Locoln Center's last two-and-a-half decades. Filled with over sixty beautiful black-and-white photographs that highlight the Center's rich cultural history, it illuminates how Lincoln Center for the Performing Arts served and supported its constituent groups while producing its own innovative artistic programming and how, in the process, it became a role model for performing arts organizations throughout the world.
(source: Nielsen Book Data)

When Reynold Levy became the new president of Lincoln Center in 2002, New York Magazine described the situation he walked in to as "a community in deep distress, riven by conflict." Ideas for the redevelopment of Lincoln Center's artistic facilities and public spaces required spending more than $1.2 billion, but there was no clear pathway for how to raise that kind of unprecedented sum. The individual resident organizations that were the key constituents of Lincoln Center--the Metropolitan Opera, the New York City Opera, the New York Philharmonic, the Juilliard School, and eight others--could not agree on a common capital plan or fundraising course of action. Instead, intramural rivalries and disputes filled the vacuum. Besides, some of those organizations had daunting problems of their own. Levy tells the inside story of the demise of the New York City Opera, the Metropolitan Opera's need to use as collateral its iconic Chagall tapestries in the face of mounting operating losses, and the New York Philharmonic's dalliance with Carnegie Hall. Yet despite these and other challenges, Levy and the extraordinary civic leaders at his side were able to shape a consensus for the physical modernization of the sixteen-acre campus and raise the money necessary to maintain Lincoln Center as the country's most vibrant performing arts destination. By the time he left, Lincoln Center had prepared itself fully for the next generation of artists and audiences. They Told Me Not to Take That Job is more than a memoir of life at the heart of one of the world's most prominent cultural institutions. It is also a case study of leadership and management in action. How Levy and his colleagues triumphantly steered Lincoln Center--through perhaps the most tumultuous decade of its history to a startling transformation--is fully captured in his riveting account.
(source: Nielsen Book Data)

• Introduction : a canon of twentieth-century performance / Noel Witts and Teresa Brayshaw
• Interview / Marina Abramovic
• The speed of change / Laurie Anderson
• Actor, space, light, painting / Adolph Appia
• Theatre and cruelty / Antonin Artaud
• Diary entries / Bobby Baker
• Words or presence / Eugenio Barba.
• Not how people move but what moves them / Pina Bausch
• Acting exercises / Julian Beck
• What is epic theatre? / Walter Benjamin
• Speech upon receiving an honorary doctorate degree from the Nova Scotia College of Art and Design, Halifax 1976 / Joseph Beuys
• Notes on the invention of tradition / Rustom Bharucha
• The theatre as discourse / Augusto Boal
• Short description of a new technique in acting which produces an alienation effect / Bertolt Brecht
• The deadly theatre / Peter Brook
• Trisha Brown : an interview / Trisha Brown
• Four statements on the dance / John Cage
• Current trends/the director as partly actor / Jacques Copeau
• The actor and the über-marionette / Edward Gordon Craig
• You have to love dancing to stick to it / Merce Cunningham
• Interview / Anne Teresa de Keersmaeker
• The dancer of the future / Isadora Duncan
• Some remarks on the situation of the modern composer / Hanns Eisler
• On performance writing / Tim Etchells
• Hello mother/ it's my body / Karen Finley
• How to write a play / Richard Foreman
• Notes on Einstein on the beach / Philip Glass
• Performance art from futurism to the present / RoseLee Goldberg
• The art of camouflage / Guillermo Gómez-Peña
• The creature from the black lagoon / Matthew Goulish
• Graham 1937 / Martha Graham
• Statement on principles / Jerzy Grotowski
• Man, once dead, crawl back! / Tatsumi Hijikata
• Of the futility of the 'theatrical' in theatre / Alfred Jarry
• On stage composition / Wassily Kandinsky
• The theatre of death: a manifesto / Tadeusz Kantor
• Assemblages, environments and happenings / Allan Kaprow
• Interview / Elizabeth LeCompte
• The theatre of gesture and image / Jacques Lecoq
• Prologue to Postdramatic theatre
• Robert Lepage in discussion / Robert Lepage
• Expanded Fluxus diagram / George Maciunas
• The founding and manifesto of futurism / F.T. Marinetti
• First attempts at a stylized theatre / Vsevolod Meyerhold
• Building up the muscle of the imagination / Ariane Mnouchkine
• Process notes on Atlas, 1989 / Meredith Monk
• 19 answers by Heiner Müller / Heiner Müller
• Conversation with Jo Butterworth / Lloyd Newson
• Epic satire / Erwin Piscator
• A quasi survey of some 'minimalist' tendencies in the quantitatively minimal dance activity midst the plethora, or an analysis of Trio A / Yvonne Rainer
• How did Dada begin? / Hans Richter
• The five avant gardes or... or none? / Richard Schechner
• Man and art figure / Oskar Schlemmer
• Meat joy / Carolee Schneemann
• Theatre in African traditional cultures: survival patterns / Wole Soyinka
• Intonations and pauses / Konstantin Stanislavski
• Composition as explanation / Gertrude Stein
• Interview with Nicholas Zurbrugg / Stelarc
• The visionary landscape of perception / Bill Viola
• Interview / Richard Wilson.

The Twentieth-Century Performance Reader has been the key introductory text to all types of performance for over fifteen years. Extracts from over fifty practitioners, critics and theorists from the fields of dance, drama, music, theatre and live art form an essential sourcebook for students, researchers and practitioners. This carefully revised third edition offers focus on contributions from the world of music, and also privileges the voices of practitioners themselves ahead of more theoretical writing. A bestseller since its original publication in 1996, this new edition has been expanded to include contributions from: Bobby Baker; Joseph Beuys; Rustom Bharucha; Anne Teresa de Keersmaeker; Hanns Eisler; Karen Finley; Philip Glass; Guillermo Gomez-Pena; Matthew Goulish; Martha Graham; Wassily Kandinsky; Jacques Lecoq; Hans-Thies Lehmann; George Maciunas; Ariane Mnouchkine; Meredith Monk; Lloyd Newson; Carolee Schneemann; Gertrude Stein; Bill Viola. Each extract is fully supplemented by a contextual summary, a biography of the writer, and suggestions for further reading. The volume's alphabetical structure invites the reader to compare and cross-reference major writings on all types of performance outside of the constraints and simplifications of genre, encouraging cross-disciplinary understandings. All who engage with live, innovative performance, and the interplay of radical ideas, will find this collection invaluable.
(source: Nielsen Book Data)

• List of Illustrations and Figures List of Tables Notes on Contributors Foreword-- M.Wallis Acknowledgements Introduction-- J.Pitches PART I: BODY-- Introduced and edited by A.Fenemore Any Body? The Multiple Bodies of the Performer-- V.Ramirez Ladron De Guevera Some Body and No Body: The Body of a Performer-- W.Houstoun Every Body: Performance's Other Bodies-- A.Fenemore PART II: SPACE-- Introduced and edited by S.Palmer Event-Space: Performance Space and Spatial Performativity-- D.Hannah Scenographic Space and Place-- L.A.Wilson Audience Space/Scenographic Space-- S.Palmer PART III: TIME-- Introduced and edited by T.Gardner Theatre, Technology and Time-- S.Dixon Ghost Dance: Time and Duration in the Work of Lone Twin-- G.Whelan The Lives and Times of Performance-- T.Gardner PART IV: TECHNOLOGY-- Introduced and edited by S.Popat Gaming and Performance: Narrative and Identity-- J.Wood SwanQuake House - 'Messing the System Up'-- R.Gibson & B.Martelli Performance and Technology: The Myth of Disembodiment-- S.Popat PART V: INTERACTIVITY-- Introduced and edited by A.O'Grady Boalian Perspectives on Interactivity in Theatre-- J.Somers Interactivity and the Work of Blast Theory-- M.Adams Interactivity: Functions and Risks-- A.O'Grady PART VI: ORGANISATION-- Introduced and edited by C.Taylor Performance, Culture and Industry-- R.Brown Organisational Agility and Improvisation-- T.Greenstreet Performance, Organisation, Theory-- C.Taylor Epilogue-- J.Pitches Bibliography.
• (source: Nielsen Book Data)

What is 'performance'? What are the boundaries of Performance Studies? How do we talk about contemporary performance practices today in simple but probing terms? What kinds of practices represent the field and how can we interpret them? Combining the voices of academics, artists, cultural critics and teachers, Performance Perspectives answers these questions and provides a critical introduction to Performance Studies. Presenting an accessible way into key terminology and context, it offers a new model for analyzing contemporary performance based on six frames or perspectives: * Body * Space * Time * Technology * Interactivity * Organization. Drawing on examples from a wide range of practices across site specific performance, virtual reality, dance, applied theatre and everyday performance, Performance Perspectives addresses the binary of theory and practice and highlights the many meeting points between studio and seminar room. Each chapter takes the innovative form of a three-way conversation, bringing together theoretical introductions with artist interviews and practitioner statements. The book is supported by activities for discussion and practical devising work, as well as clear guidance for further reading and an extensive reference list across media Performance Perspectives is essential reading for anyone studying, interpreting or making performance.
(source: Nielsen Book Data)