{"id":4,"date":"2016-11-14T15:14:26","date_gmt":"2016-11-14T15:14:26","guid":{"rendered":"https:\/\/research.kent.ac.uk\/upgrade-reviewingspectacle\/?page_id=2"},"modified":"2021-05-28T16:36:12","modified_gmt":"2021-05-28T15:36:12","slug":"sample-page","status":"publish","type":"page","link":"https:\/\/research.kent.ac.uk\/reviewingspectacle\/","title":{"rendered":"Home"},"content":{"rendered":"<p>Celebrity, social media, selfies, spin\u2026 More than any other term, <em>spectacle<\/em> describes our postmodern and post-industrial worlds. This project marks the fiftieth anniversary of one of the last century\u2019s most influential texts, Guy Debord\u2019s <em>The Society of the Spectacle<\/em> (1967). Our project revisits the theories and practices of Debord and the Situationist International (1957-72), the group of political artists to which he belonged, to examine how their radicalism has impacted, and can impact, on contemporary live performance.<\/p>\n<p>Current publications:<\/p>\n<ul>\n<li style=\"list-style-type: none;\">\n<ul>\n<li class=\"pagetitle\">\n<h4><a href=\"http:\/\/theatrepublic.fr\/theatre-public-n231-internationale-situationniste-theatre-performance-entretien-sonia-debeauvais\/\"><strong><em>Th\u00e9\u00e2tre\/Public<\/em> special issue, no. 231 (January 2019), <em>Internationale situationniste, th\u00e9\u00e2tre, performance<\/em>, edited by Christian Biet, Cristina de Simone and Clare Finburgh Delijani.<\/strong><\/a><\/h4>\n<\/li>\n<li>\n<h4><a href=\"https:\/\/www.performance-research.org\/current-issue.php\"><em>Performance Research<\/em> special issue, no. 23.7 (December 2018), <em>On Drifting<\/em>, edited by Carl Lavery, David Pinder and Marielle Pelissero.<\/a><\/h4>\n<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p class=\"alignright\"><a title=\"follow us on facebook\" href=\"http:\/\/www.facebook.com\/ReviewingSpectacle\" target=\"_blank\" rel=\"noopener noreferrer\"><img decoding=\"async\" class=\"alignright\" src=\"https:\/\/c866088.ssl.cf3.rackcdn.com\/assets\/facebook30x30.png\" alt=\"follow us on facebook\" border=\"0\" \/><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Celebrity, social media, selfies, spin\u2026 More than any other term, spectacle describes our postmodern and post-industrial worlds. This project marks the fiftieth anniversary of one of the last century\u2019s most influential texts, Guy Debord\u2019s The Society of the Spectacle (1967). Our project revisits the theories and practices of Debord and the Situationist International (1957-72), the [&hellip;]<\/p>\n","protected":false},"author":1043,"featured_media":0,"parent":0,"menu_order":1,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-4","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/research.kent.ac.uk\/reviewingspectacle\/wp-json\/wp\/v2\/pages\/4","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/research.kent.ac.uk\/reviewingspectacle\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/research.kent.ac.uk\/reviewingspectacle\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/research.kent.ac.uk\/reviewingspectacle\/wp-json\/wp\/v2\/users\/1043"}],"replies":[{"embeddable":true,"href":"https:\/\/research.kent.ac.uk\/reviewingspectacle\/wp-json\/wp\/v2\/comments?post=4"}],"version-history":[{"count":7,"href":"https:\/\/research.kent.ac.uk\/reviewingspectacle\/wp-json\/wp\/v2\/pages\/4\/revisions"}],"predecessor-version":[{"id":2382,"href":"https:\/\/research.kent.ac.uk\/reviewingspectacle\/wp-json\/wp\/v2\/pages\/4\/revisions\/2382"}],"wp:attachment":[{"href":"https:\/\/research.kent.ac.uk\/reviewingspectacle\/wp-json\/wp\/v2\/media?parent=4"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}