Boston University Wind Ensemble: A Halloween Concert, October 31, 1991

This is the concert program of the Boston University Wind Ensemble performance on Thursday, October 31, 1991 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue. Works performed were The Raven by Edgar Allen Poe, Cave by Russell Peck, The Tell-Tale Heart by Edgar Allen Poe, Short Ride in a Fast Machine by John Adams (arr. Odom), The Seven Deadly Sins by Robert Rodriguez, I. Mars - The Bringer of War and IV. Jupiter - The Bringer of Jollity from The Planets by Gustav Holst, and March to the Scaffold from "Symphonie Fantastique" by Hector Berlioz. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Focal Point Gallery : a new institutional model?

A description is given of how Focal Point Gallery’s (FPG) new building (in Southend-on-Sea, Essex) was conceived in terms of its practical effectiveness in addressing tensions between local and global, utopian, social and political thought, through the commissioning of permanent and temporary artworks – by Marc Camille Chaimowicz, Scott King, Mike Nelson, Elizabeth Price, Allen Rupperberg, Tris Vonna-Michell and Lawrence Weiner – via an ethical curatorial approach involving affirmative modes of criticality. This includes an account of distribution strategies used for FPG’s printed publicity as an artistic program in its own right, and the various platforms, channels and spaces of editorial circulation that informed this curatorial approach

Audience Participation and Neoliberal Value: Risk, Agency and Responsibility in Immersive Theatre.

This article identifies a value set shared between the neoliberal ethos and modes of audience participation frequently promoted in immersive theatre: values such as risk-taking, individual freedoms and personal responsibility. The promotion of self-made opportunity, premised either on opportunistic risk-taking, or the savvy attitude that comes with experience and familiarity with immersive theatre participation, will be addressed as valorising another shared value: entrepreneurialism. A participatory mode will be introduced that I call ‘entrepreneurial participation’: a kind of audience participation privileged in much immersive theatre performance identifying the enactment of neoliberal value. While entrepreneurial participation may be deliberately deployed by audiences as a participatory tactic, it will be argued that this particular participatory mode is frequently expected of audiences, or at least privileged as a means of engaging with performance. Work by the British immersive theatre company Punchdrunk will be taken as a means of illustrating this suggestion, particularly The Masque of the Red Death (2007). The article begins with a definition of immersive theatre that focuses on the figuring of participating audiences, paying particular attention to the relativity of participatory freedoms and the centrality of experience production. Hedonistic and narcissistic experiences will pull focus and will be approached as a possible reason behind immersive theatre's susceptibility to absorption within the experience industry and co-optation by innovative marketers. The article then establishes a set of shared values between the neoliberal ethos and audience participation in The Masque of the Red Death. Risk perception research, especially that arising from the Oregon Group and Stephen Lyng, will be touched on as a means of introducing some political considerations arising from the notion of entrepreneurial participation. A more optimistic, but ultimately sobering set of responses will be offered in conclusion