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Written by a scholar of satire and politics, Trump Was a Joke explains why satire is an exceptional foil for absurd political times and why it did a particularly good job of making sense of Trump. Covering a range of comedic interventions, Trump Was a Joke analyzes why political satire is surprisingly effective at keeping us sane when politics is making us crazy. Its goal is to highlight the unique power of political satire to encourage critical thinking, foster civic action, and further rational debate in moments of political hubris and hysteria. The book has been endorsed by Bassem Youssef, who has been referred to as the Jon Stewart of Egypt, and Srdja Popovic, author of Blueprint for Revolution, who used satirical activism to bring down Serbian dictator Slobodan Milosevic. With a foreword by award-winning filmmaker, satirist, and activist Michael Moore, this study will be of interest to readers who follow politics and enjoy political comedy and will appeal to the communications, comedy studies, media studies, political science, rhetoric, cultural studies, and American studies markets.

1. Laughing in an Emergency: Weaponising Humour in Contemporary Art -- Fictional Pasts, Experimental Futures: Humour, Art and Temporality -- 2 Humour, Critical Inversion and the 'Age of Commemoration': An Interview with Stefanos Tsivopoulos -- 3 "And a More Offensive Spectacle I Cannot Recall": Humour in …No Other Symptoms: Time Travelling with Rosalind Brodsky (1999) by Suzanne Treister -- 4 Humour, Collective Identities and Speculative Futures: An Interview with Larissa Sansour -- Towards an Art Historical Humour: Art Markets and Art Historical Legacies -- 5 Kara Walker's Fons Americanus: A Comic Anti-Monument -- 6 After Salzmann: Thoughts on Humour, Erasure, Photography and Palestine -- 7 The Significance of Authorial 'Play Spaces' for Seriously Funny Art -- Outsiders Out, and Insiders In: Humour, Art and Identity -- 8 Humour as Heterotopic Friction -- 9 Making "Funny" Art During the Greek Crisis... so what? -- 10 Positioning Humour within Indigenous Paradigms: An Interview with Richard Bell -- 11 Tragedies Interrupted: An Interview with Voluspa Jarpa -- A Turn to the Right: Humour and Spectres of Violence -- 12 Art as Archive: Subversive Humour and Authenticity in Brazilian art -- 13 Thoughts and Prayers: Laughter and Parody in Post-Columbine America -- 14 Is Art a Means for Resistance in Times of Global Crisis? Public Art, Humour and De-Fictionalization of Far-Right Narratives in Today's Italy.

__Abstract__ As a result of declining government support, performing arts organisations (PAOs) face increased challenges and difficulties in the sector. They attempt to develop new ways of generating income and seek new models of organising the production and presentation of performing arts. Hereby, we can think of collaboration and integration as horizontal and vertical within the production chain of performing arts. There are various reasons for cultural organisations to decide upon collaboration, such as increasing organisational capacity, engaging new audience and building organisational networks (Ostrower, 2005). Other reasons for deciding upon collaboration are economies of scale and stronger profiling of the performing arts organisation. Collaboration intensifies knowledge, thus the performing arts market becomes more dynamic and there is more room for experimentation. The issue or threat, however, is that not all collaboration processes are successful. According to Kottler and Scheff (1996), the organisation needs to meet several conditions in order to build an efficient collaboration: one has to set a goal-building consensus, build trust, communicate, design leadership and involvement structures, and commit adequate resources. These are the fundamental conditions but during the process of collaboration there are other issues that need to be considered. A frequent threat is that parties often have different motives to collaborate. For example, for commercial organisations the motive could be generating more profit whereas for non-profit art organisations, especially in these times, collaboration means survival. A related issue is whether collaboration aimed at surviving is a good motive for collaboration formation. Moreover, fear may exist of losing an organisation's identity or artistic autonomy, employees may become anxious, the coordination costs might increase and parties may need additional resources and time to establish such a project. Backer (2003) summarises this dilemma in the following question: 'How can parties control the collaboration in an efficient way while at the same time meeting their main objectives and guarding their own artistic identity?'

Comedy in Crises provides a novel contribution to an emerging comedy studies field, offering a fresh approach and understanding toward both the motivation and reception of humour in diverse contemporary art contexts. Drawing together research by artists, theorists, curators, and historians from around the world (from Palestine, to Greece, Brazil, and Indigenous Australia), it provides new insight into how humour is weaponised in contemporary art focusing on its role in negotiating complex cultural identities, the expectations of art markets, the impact of historical legacies, as well as its role in bolstering cultural resilience. In so doing, this book explores a vital, yet under-explored, aspect of contemporary art. Over the last decade, we have witnessed an overwhelming emphasis on experiences of precarity and emergency in contemporary art discourse, reflecting a popular view that the decade following the outbreak of the global financial crisis has been marked by an intersection of constant crises (refugee crisis, sovereign debt crisis, environmental disaster, COVID). Comedy in Crises offers innovative analysis of the relationship between this context and the growing use of humour by artists from around the world, making clear the vital role of laughter in mediating the collective trauma that takes shape today in a period of protracted crisis. Chrisoula Lionis is a writer and cultural producer based between Athens, Greece, and Manchester, UK. She is author of Laughter in Occupied Palestine: Comedy and Identity in Art and Film (2016/2022), Co-Director of pedagogical platform Artists for Artists, and Research Fellow on AHRC project Understanding Displacement Aesthetics at the University of Manchester. .

Diese Publikation dokumentiert das gleichnamige Kunstfestival der Universität für angewandte Kunst Wien in einer multimedialen Gesamtschau. Im Mittelpunkt dieses Hybrids aus Buch und digitalen Medium steht ein Datenträger mit Kurzfilmen und Interviews der teilnehmenden PerformancekünstlerInnen. Die Dokumentation vergangener Interventionen im öffentlichen Raum wird so in eine permanente Ausstellung transformiert.

First published in 1981. The overthrow of the "gang of four" in October 1976 had profound effects in all areas of Chinese society, and probably nowhere can this be more clearly seen than in the performing arts. Jiang Qing, Mao Zedong's widow, was strongly interested in the performing arts and exercised great influence over them. This book describes her influence and the effects its removal had on the arts. Although the period covered is mainly that since the death of Mao, the author also explores the years following the Cultural Revolution.

This volume of Who's Who in Research series offers a useful guide for current researchers in Intellect's subject area of Performing Arts. The directory holds the names, institutions, biographies and current research interests of hundreds of leading international academics as well as references to the researchers' principal articles in Intellect journals

Abstract
In the present political and socio-cultural situation in Slovakia, it is natural and necessary even to ask "what position do the arts occupy in this country?" and "what role do they play within the complex global atmosphere?" Art and culture should mirror the nation. Are we aware of that? Do we realize that art has the ability and the power to move? Not many of us realize this. This is a consequence of the permanent scepticism, apathy and resentment caused by the fact that this voice has never been heard. And this is not just the case in Slovakia. Yet even today there are certain groups of artists who still believe in the arts and their power. I think that giving up on this faith is the easiest thing to do. The decision whether to fight, rebel or actively participate is extremely complex and in many cases doing so may even threaten the freedom of the person. In this article I address the issue of whether art has the power and ability to change things. I draw attention to those socially engaging activities that could be described as performance art, which occur beyond enclosed areas and in public spaces; and in order to achieve change, they openly and nakedly attack individual consciousness and the subconscious.

Performing arts have by nature the possibility to emotionally involve the audience in ways, which are, in some important sense, "direct" and active, instead of contemplative. The audience is in the presence of flesh and blood people doing various things and of events happening in front of them. In other words, the artistic event happens live, in front of the spectators' eyes and ears, and sometimes it can even end with the audience turned into performers. This fact has lead some scholars to affirm that, to a certain extent, performing arts seem to cancel or at least to minimize the gap between art and life. This trend is mainly strong in more or less new art forms and art movements, like Performance Art, Happening, etc., that, for reasons of different kinds (aesthetic, social, political, philosophical, etc.), refused the idea of art as work and encouraged art as action and event. This idea of art as something "fluid", not fixed, not ontologically steady, and as expression of free invention seems to come to fruition also in some art technique and ways of execution, like improvisation in jazz or in certain forms of theatrical play. It would seem obvious, then, to employ this idea of art as action, event and process in contrast with the traditional conception of art -based on works that should become objects of a particular experience, differentiated from the ordinary path of life by an alleged "aesthetic distance". I will argue, on the contrary, that aesthetic "difference", "distance" and "disinterest" are basic features also of the appreciation of art forms based on events or processes and that this stands even if art as a whole is taken as better understandable in terms of performance, event, action and process rather than in the traditional terms of work and composition.