Moving with these questions, the book turns to artists experimenting with novel group formations in dance, literature, film, and music in the 1960s and ’70s. How do we group, and how does that matter? What kind of good-bad thing is a group to do? He enters the text with a tentativeness toward groups, recognizing the ways that they are frequently viewed with healthy suspicion or uncritical celebration. Following a “desire for collectivity,” Philbrick takes the small-scale formation of “the group” as the locus of inquiry. At first glance, it’s a book of academic theory coming out of performance studies. There are many ways to move through and think alongside Ethan Philbrick’s Group Works.
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