A SCHOLARLY BOOK REPOSITORY
291 books about Performance and 15
start with R
291 books about Performance and 15
291 books about Performance
15 start with R start with R
15 start with R start with R
Radio and the Performance of Government
Broadcasting by the Czechoslovaks in Exile in London, 1939–1945
Erica Harrison
Karolinum Press, 2023
An original study of radio propaganda in Czechoslovakia.
Between 1939 and 1945, Czechoslovakia disappeared from the maps, existing only as an imagined ‘free republic’ on the radio waves. Following the German invasion and annexation of Bohemia and Moravia and the declaration of independence by Slovakia on 15 March 1939, the Czechoslovak Republic was gone. From their position in exile in wartime London, former Czechoslovak President Edvard Beneš and the government that formed around him depended on radio to communicate with the public they strove to represent. The broadcasts made by government figures in London enabled a performance of authority to impress their hosts, allies, occupying enemies, and claimed constituents.
This book examines this government program for the first time, making use of previously unstudied archival sources to examine how the exiles understood their mission and how their propaganda work was shaped by both British and Soviet influences. This study assesses the strengths, weaknesses, and limitations of the government’s radio propaganda as they navigated the complexities of exile, with chapters examining how they used the radio to establish their authority, how they understood the past and future of the Czechoslovak nation, and how they struggled to include Slovakia and Subcarpathian Ruthenia within it.
Between 1939 and 1945, Czechoslovakia disappeared from the maps, existing only as an imagined ‘free republic’ on the radio waves. Following the German invasion and annexation of Bohemia and Moravia and the declaration of independence by Slovakia on 15 March 1939, the Czechoslovak Republic was gone. From their position in exile in wartime London, former Czechoslovak President Edvard Beneš and the government that formed around him depended on radio to communicate with the public they strove to represent. The broadcasts made by government figures in London enabled a performance of authority to impress their hosts, allies, occupying enemies, and claimed constituents.
This book examines this government program for the first time, making use of previously unstudied archival sources to examine how the exiles understood their mission and how their propaganda work was shaped by both British and Soviet influences. This study assesses the strengths, weaknesses, and limitations of the government’s radio propaganda as they navigated the complexities of exile, with chapters examining how they used the radio to establish their authority, how they understood the past and future of the Czechoslovak nation, and how they struggled to include Slovakia and Subcarpathian Ruthenia within it.
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Rated RX
Sheree Rose with and after Bob Flanagan
Yetta Howard
The Ohio State University Press, 2020
“The thing that people don’t understand is that Bob was my invention,” says Sheree Rose, the oft-overlooked partner of the late “supermasochist” performance artist Bob Flanagan. Unpacking this statement is at the heart of this important collection, which seeks to recuperate and showcase Rose’s contributions as performer, photographer, writer, and cultural innovator. While Rose is mostly known for blurring the boundaries between art and lived experience in the context of her full-time, mistress-slave relationship with Flanagan, Rated RX shifts focus from Flanagan to Rose, presenting a feminist project that critically reassesses the artistic legacies of Sheree Rose.
Curated with attention to queer-crip subjectivities and transgressive feminisms, Rated RX includes essays by and interviews with scholars, artists, and Rose’s collaborators that address gender politics, archival practices, minority embodiment, and disability in Rose’s work as well as more than eighty photographs and rare archival materials reflecting Rose’s recent and past performances. Offering a necessary corrective, Rated RX is the first collection to underscore Sheree Rose as a legendary figure in performance art and BDSM subcultural history, reflecting her lifetime of involvement in documenting the underground and the transformative role her work plays in sexual, subcultural, and art exhibitionism.
Curated with attention to queer-crip subjectivities and transgressive feminisms, Rated RX includes essays by and interviews with scholars, artists, and Rose’s collaborators that address gender politics, archival practices, minority embodiment, and disability in Rose’s work as well as more than eighty photographs and rare archival materials reflecting Rose’s recent and past performances. Offering a necessary corrective, Rated RX is the first collection to underscore Sheree Rose as a legendary figure in performance art and BDSM subcultural history, reflecting her lifetime of involvement in documenting the underground and the transformative role her work plays in sexual, subcultural, and art exhibitionism.
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Reactivations
Essays on Performance and Its Documentation
Philip Auslander
University of Michigan Press, 2018
Most people agree that witnessing a live performance is not the same as seeing it on screen; however, most of the performances we experience are in recorded forms. Some aver that the recorded form of a performance necessarily distorts it or betrays it, focusing on the relationship between the original event and its recorded versions. By contrast, Reactivations focuses on how the audience experiences the performance, as opposed to its documentation. How does a spectator access and experience a
performance from its documentation? What is the value of performance documentation?
The book treats performance documentation as a specific discursive use of media that arose in the middle of the 20th century alongside such forms of performance as the Happening and that is different, both discursively and as a practice, from traditional theater and dance photography. Philip Auslander explores the phenomenal relationship between the spectator who experiences the performance from the document and the document itself. The document is not merely a secondary iteration of the original event but a vehicle that gives us meaningful access to the performance itself as an artistic work.
performance from its documentation? What is the value of performance documentation?
The book treats performance documentation as a specific discursive use of media that arose in the middle of the 20th century alongside such forms of performance as the Happening and that is different, both discursively and as a practice, from traditional theater and dance photography. Philip Auslander explores the phenomenal relationship between the spectator who experiences the performance from the document and the document itself. The document is not merely a secondary iteration of the original event but a vehicle that gives us meaningful access to the performance itself as an artistic work.
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Readying the Revolution
African American Theater and Performance from Post-World War II to the Black Arts Movement
Jonathan Shandell
University of Michigan Press, 2025
Starting in 1966, African American activist Stokely Carmichael and other political leaders adopted the phrase "Black Power!" The slogan captured a militant, revolutionary spirit that was already emerging in the work of playwrights, poets, musicians, and visual artists throughout the Black Arts movement of the mid-1960s. But the story of those theater artists and performers whose work helped bring about the Black Arts revolution has not fully been told. Readying the Revolution: African American Theater and Performance from Post-World War II to the Black Arts Movement explores the dynamic era of Black culture between the end of World War II and the start of the Black Arts Movement (1946-1964) by illuminating how artists and innovators such as Jackie Robinson, Lorraine Hansberry, Ossie Davis, Nina Simone, and others helped radicalize Black culture and Black political thought. In doing so, these artists defied white cultural hegemony in the United States, and built the foundation for the revolutionary movement in Black theater that followed in the mid 1960s.
Through archival research, close textual reading, and an analysis of visual and aural performance artifacts, author Jonathan Shandell demonstrates how these artists negotiated a space on the public stage of the United States for cultivating radical Black aesthetic exploration and a spirit of courageous antiracist resistance. Readying the Revolution provides new insights into the activism and accomplishments of African American artists whose work helped lay the groundwork for a Black Nationalist cultural revolution, but whose influence has yet to receive its due recognition.
Through archival research, close textual reading, and an analysis of visual and aural performance artifacts, author Jonathan Shandell demonstrates how these artists negotiated a space on the public stage of the United States for cultivating radical Black aesthetic exploration and a spirit of courageous antiracist resistance. Readying the Revolution provides new insights into the activism and accomplishments of African American artists whose work helped lay the groundwork for a Black Nationalist cultural revolution, but whose influence has yet to receive its due recognition.
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Reckoning with Spirit in the Paradigm of Performance
Donnalee Dox
University of Michigan Press, 2016
Performance has become a paradigm for analyzing contemporary culture, a pattern that structures a particular view of human interaction and experience. Performance is also widely used to better understand how we express values and ideas, including religious beliefs. Reckoning with Spirit in the Paradigm of Performance asks how the sensibilities of religious experience, which many people call spirituality, shape people's performance. When we observe people performing words, dances, music, and rituals they consider sacred, what (if any) conclusions can we draw about their experiences from what we see, read, and hear? By analyzing performances of spirituality and what people experience as "spirit," this book adds a new dimension to the paradigm of performance.
Rather than reducing the spiritual dimension to either biology or culture, the book asks what such experiences might have to offer a reasoned analysis of vernacular culture. The specific performances presented are meditative dance and shamanic drumming, including descriptions of these practices and exegesis of practitioners' writings on the nature of spiritual experience and performance.
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Regional Literature and the Transmission of Culture
Chinese Drum Ballads, 1800–1937
Margaret B. Wan
Harvard University Press, 2020
Regional Literature and the Transmission of Culture provides a richly textured picture of cultural transmission in the Qing and early Republican eras. Drum ballad texts (guci) evoke one of the most popular performance traditions of their day, a practice that flourished in North China. Study of these narratives opens up surprising new perspectives on vital topics in Chinese literature and history: the creation of regional cultural identities and their relation to a central “Chinese culture”; the relationship between oral and written cultures; the transmission of legal knowledge and popular ideals of justice; and the impact of the changing technology of the late nineteenth and early twentieth centuries on the reproduction and dissemination of popular texts.
Margaret B. Wan maps the dissemination over time and space of two legends of wise judges; their journey through oral, written, and visual media reveals a fascinating but overlooked world of “popular” literature. While drum ballads form a distinctively regional literature, lithography in early twentieth-century Shanghai drew them into national markets. The new paradigm this book offers will interest scholars of cultural history, literature, book culture, legal history, and popular culture.
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Renaissance Drama 34
Media, Technology, and Performance
W. B. Worthen
Northwestern University Press, 2006
Renaissance Drama, an annual and interdisciplinary publication, is devoted to drama and performance as a central feature of Renaissance culture. The essays in each volume explore traditional canons of drama, the significance of performance (broadly construed) to early modern culture, and the impact of new forms of interpretation on the study of Renaissance plays, theatre, and performance.
This issue of Renaissance Drama, devoted to the topic of "Media, Technology, and Performance" is co-edited by W.B. Worthen, Wendy Wall, and Jeffrey Masten. The various articles displayed here address the interface between drama and its various modes of production over the past four centuries. This volume explores the relationship of drama to other forms of early modern spectacle (pageantry, masques), to the specificities of typography and the economics of the book industry, to the intersection of drama with film and DVD production, and to the way that stage technologies and theatrical economies of the 16th, 17th and 20th centuries define plays and playing. Rather than thinking of the early modern text as something simply reconstituted in its different incarnations, these essays make clear that different media force a rethinking of the terms that we use to envision, conceptualize, and even to see the work of drama.
This issue of Renaissance Drama, devoted to the topic of "Media, Technology, and Performance" is co-edited by W.B. Worthen, Wendy Wall, and Jeffrey Masten. The various articles displayed here address the interface between drama and its various modes of production over the past four centuries. This volume explores the relationship of drama to other forms of early modern spectacle (pageantry, masques), to the specificities of typography and the economics of the book industry, to the intersection of drama with film and DVD production, and to the way that stage technologies and theatrical economies of the 16th, 17th and 20th centuries define plays and playing. Rather than thinking of the early modern text as something simply reconstituted in its different incarnations, these essays make clear that different media force a rethinking of the terms that we use to envision, conceptualize, and even to see the work of drama.
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Representing Aztec Ritual
Performance, Text, and Image in the Work of Sahagun
Eloise Quiñones Keber
University Press of Colorado, 2020
Arriving in Mexico less than a decade after the Spanish conquest of 1521, the Franciscan missionary Bernardino de Sahagún not only labored to supplant native religion with Christianity, he also gathered voluminous information on virtually every aspect of Aztec (Nahua) life in contact-period Mexico. His pioneering ethnographic work relied on interviews with Nahua elders and the assistance of a younger generation of bicultural, missionary-trained Nahuas. Sahagún's remarkably detailed descriptions of Aztec ceremonial life offer the most extensive account of a non-Western ritual system recorded before modern times.
Representing Aztec Ritual: Performance, Text, and Image in the Work of Sahagún uses Sahagún's corpus as a starting point to focus on ritual performance, a key element in the functioning of the Aztec world. With topics ranging from the ritual use of sand and paper to the sacrifice of women, contributors explore how Aztec rites were represented in the images and texts of documents compiled under colonial rule and the implications of this European filter for our understanding of these ceremonies. Incorporating diverse disciplinary perspectives, contributors include Davíd Carrasco, Philip P. Arnold, Kay Read, H. B. Nicholson, Eduardo Matos Moctezuma, Guilhem Olivier, Doris Heyden, and Eloise Quiñones Keber.
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Restaging the Future
Neoliberalization, Theater, and Performance in Britain
Louise Owen
Northwestern University Press, 2023
An examination of neoliberal ideology’s ascendance in 1990s and 2000s British politics and society through its effect on state-supported performance practices
Post-Thatcher, British cultural politics were shaped by the government’s use of the arts in service of its own social and economic agenda. Restaging the Future: Neoliberalization, Theater, and Performance in Britain interrogates how arts practices and cultural institutions were enmeshed with the particular processes of neoliberalization mobilized at the end of the twentieth century and into the twenty-first.
Louise Owen traces the uneasy entanglement of performance with neoliberalism's marketization of social life. Focusing on this political moment, Owen guides readers through a wide range of performance works crossing multiple forms, genres, and spaces—from European dance tours, to Brazilian favelas, to the streets of Liverpool—attending to their distinct implications for the reenvisioned future in whose wake we now live.
Analyzing this array of participatory dance, film, music, public art, and theater projects, Owen uncovers unexpected affinities between community-based, experimental, and avant-garde movements. Restaging the Future provides key historical context for these performances, their negotiations of their political moment, and their themes of insecurity, identity, and inequality, created in a period of profound ideological and socioeconomic change.
Post-Thatcher, British cultural politics were shaped by the government’s use of the arts in service of its own social and economic agenda. Restaging the Future: Neoliberalization, Theater, and Performance in Britain interrogates how arts practices and cultural institutions were enmeshed with the particular processes of neoliberalization mobilized at the end of the twentieth century and into the twenty-first.
Louise Owen traces the uneasy entanglement of performance with neoliberalism's marketization of social life. Focusing on this political moment, Owen guides readers through a wide range of performance works crossing multiple forms, genres, and spaces—from European dance tours, to Brazilian favelas, to the streets of Liverpool—attending to their distinct implications for the reenvisioned future in whose wake we now live.
Analyzing this array of participatory dance, film, music, public art, and theater projects, Owen uncovers unexpected affinities between community-based, experimental, and avant-garde movements. Restaging the Future provides key historical context for these performances, their negotiations of their political moment, and their themes of insecurity, identity, and inequality, created in a period of profound ideological and socioeconomic change.
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Risk Culture
Performance and Danger in Early America
Joseph Fichtelberg
University of Michigan Press, 2010
"As a number of recent studies have shown, the north European commercial world made the precise calculation of risk a central concern of the intellectual project of exploration, trade, and colonization. The great merit of Fichtelberg's book is systematizing the imaged world of dangers, and charting the various kinds of ritual and discursive performances marshaled to deal with the pressure of the unspeakable in early America from the 17th into the early 19th century. The readings of texts are invariably careful, and the points made, persuasive."
---David Shields, University of South Carolina
---David Shields, University of South Carolina
Risk Culture is the first scholarly book to explore how strategies of performance shaped American responses to modernity. By examining a variety of early American authors and cultural figures, from John Smith and the Salem witches to Phillis Wheatley, Susanna Rowson, and Aaron Burr, Joseph Fichtelberg shows how early Americans created and resisted a dangerously liberating new world. The texts surveyed confront change through a variety of performances designed both to imagine and deter menaces ranging from Smith's hostile Indians, to Wheatley's experience of slavery, to Rowson's fear of exposure in the public sphere. Fichtelberg combines a variety of scholarly approaches, including anthropology, history, cultural studies, and literary criticism, to offer a unique synthesis of literary close reading and sociological theory in the service of cultural analysis.
Joseph Fichtelberg is Professor of English and Chair of the English Department at Hofstra University.
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Risk Work
Making Art and Guerrilla Tactics in Punitive America, 1967–1987
Faye Raquel Gleisser
University of Chicago Press, 2023
How artists in the US starting in the 1960s came to use guerrilla tactics in performance and conceptual art, maneuvering policing, racism, and surveillance.
As US news covered anticolonialist resistance abroad and urban rebellions at home, and as politicians mobilized the perceived threat of “guerrilla warfare” to justify increased police presence nationwide, artists across the country began adopting guerrilla tactics in performance and conceptual art. Risk Work tells the story of how artists’ experimentation with physical and psychological interference from the late 1960s through the late 1980s reveals the complex and enduring relationship between contemporary art, state power, and policing.
Focusing on instances of arrest or potential arrest in art by Chris Burden, Adrian Piper, Jean Toche, Tehching Hsieh, Pope.L, the Guerrilla Girls, Asco, and PESTS, Faye Raquel Gleisser analyzes the gendered, sexualized, and racial politics of risk-taking that are overlooked in prevailing, white-centered narratives of American art. Drawing on art history and sociology as well as performance, prison, and Black studies, Gleisser argues that artists’ anticipation of state-sanctioned violence invokes the concept of “punitive literacy,” a collectively formed understanding of how to protect oneself and others in a carceral society.
As US news covered anticolonialist resistance abroad and urban rebellions at home, and as politicians mobilized the perceived threat of “guerrilla warfare” to justify increased police presence nationwide, artists across the country began adopting guerrilla tactics in performance and conceptual art. Risk Work tells the story of how artists’ experimentation with physical and psychological interference from the late 1960s through the late 1980s reveals the complex and enduring relationship between contemporary art, state power, and policing.
Focusing on instances of arrest or potential arrest in art by Chris Burden, Adrian Piper, Jean Toche, Tehching Hsieh, Pope.L, the Guerrilla Girls, Asco, and PESTS, Faye Raquel Gleisser analyzes the gendered, sexualized, and racial politics of risk-taking that are overlooked in prevailing, white-centered narratives of American art. Drawing on art history and sociology as well as performance, prison, and Black studies, Gleisser argues that artists’ anticipation of state-sanctioned violence invokes the concept of “punitive literacy,” a collectively formed understanding of how to protect oneself and others in a carceral society.
[more]
Ritual and Power in Stone
The Performance of Rulership in Mesoamerican Izapan Style Art
By Julia Guernsey
University of Texas Press, 2006
The ancient Mesoamerican city of Izapa in Chiapas, Mexico, is renowned for its extensive collection of elaborate stone stelae and altars, which were carved during the Late Preclassic period (300 BC-AD 250). Many of these monuments depict kings garbed in the costume and persona of a bird, a well-known avian deity who had great significance for the Maya and other cultures in adjacent regions. This Izapan style of carving and kingly representation appears at numerous sites across the Pacific slope and piedmont of Mexico and Guatemala, making it possible to trace political and economic corridors of communication during the Late Preclassic period.
In this book, Julia Guernsey offers a masterful art historical analysis of the Izapan style monuments and their integral role in developing and communicating the institution of divine kingship. She looks specifically at how rulers expressed political authority by erecting monuments that recorded their performance of rituals in which they communicated with the supernatural realm in the persona of the avian deity. She also considers how rulers used the monuments to structure their built environment and create spaces for ritual and politically charged performances. Setting her discussion in a broader context, Guernsey also considers how the Izapan style monuments helped to motivate and structure some of the dramatic, pan-regional developments of the Late Preclassic period, including the forging of a codified language of divine kingship. This pioneering investigation, which links monumental art to the matrices of political, economic, and supernatural exchange, offers an important new understanding of a region, time period, and group of monuments that played a key role in the history of Mesoamerica and continue to intrigue scholars within the field of Mesoamerican studies.
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Robert Schumann's Advice to Young Musicians
Revisited by Steven Isserlis
Robert Schumann
University of Chicago Press, 2017
If everybody were to play first violin, we could not have an orchestra. Therefore respect each musician in his own place.
There is no end to learning.
Originally published in1850, Advice to Young Musicians: Musical Rules for Home and in Life offered composer Robert Schumann’s (1810–56) combination of practical advice and poetic words of wisdom for young people beginning their musical education. Presented in aphorisms and short paragraphs, the book’s insights remain as valuable today as when it was written. Recognizing the continued resonance of Schumann’s words, world-renowned cellist Steven Isserlis, himself a writer of children’s books and many articles for young musicians, set out to rescue the work from history. Here, in this beautiful gift edition, he revisits Schumann’s work and contributes his own contemporary counsel for musicians and music lovers.
For this edition, Isserlis retranslated Schumann’s text and arranged it into four thematic sections: “On being a musician,” “Playing,” “Practicing,” and “Composing.” Each page is decoratively designed, and accompanying Schumann’s original quotation are Isserlis’s thoughtful and often humorous glosses. The book concludes with Isserlis’s own reflections on his life as a musician and performer: “My Own Bits of Advice (For What They’re Worth).” The result is a unique and thought-provoking book that will be treasured by aspiring musicians of any age.
There is no end to learning.
Originally published in1850, Advice to Young Musicians: Musical Rules for Home and in Life offered composer Robert Schumann’s (1810–56) combination of practical advice and poetic words of wisdom for young people beginning their musical education. Presented in aphorisms and short paragraphs, the book’s insights remain as valuable today as when it was written. Recognizing the continued resonance of Schumann’s words, world-renowned cellist Steven Isserlis, himself a writer of children’s books and many articles for young musicians, set out to rescue the work from history. Here, in this beautiful gift edition, he revisits Schumann’s work and contributes his own contemporary counsel for musicians and music lovers.
For this edition, Isserlis retranslated Schumann’s text and arranged it into four thematic sections: “On being a musician,” “Playing,” “Practicing,” and “Composing.” Each page is decoratively designed, and accompanying Schumann’s original quotation are Isserlis’s thoughtful and often humorous glosses. The book concludes with Isserlis’s own reflections on his life as a musician and performer: “My Own Bits of Advice (For What They’re Worth).” The result is a unique and thought-provoking book that will be treasured by aspiring musicians of any age.
[more]
Ron Vawter's Life in Performance
Theresa Smalec
Seagull Books, 2018
From 1974 to 1994, Ron Vawter was a staple of New York’s downtown theater scene, first with the Performance Group and later as a founding member of the Wooster Group. Ron Vawter’s Life in Performance is the first book focused on this incomparable actor’s specific contributions to ensemble theater, while also covering his solo projects. Through a combination of archival research and oral testimony—including interviews with Willem Dafoe, Spalding Gray, Elizabeth LeCompte, Gregory Mehrten, Richard Schechner, and Marianne Weems—Vawter emerges as an unsung innovator whose metamorphosis from soldier to avant-garde star was hardly accidental. Theresa Smalec reconstructs Vawter’s years in amateur theater, his time in the National Guard, and his professional body of work.
Partly recuperative history, Ron Vawter’s Life in Performance explores the complex intersections of individual and group biography. It also offers a unique perspective on an era that spanned from the Vietnam War to the AIDS crisis, putting Vawter’s own activism at the forefront. This volume’s broad historical and cultural reach, coupled with its careful study of a beloved yet enigmatic performer, will make it a tremendous resource for theater scholars and practitioners.
Partly recuperative history, Ron Vawter’s Life in Performance explores the complex intersections of individual and group biography. It also offers a unique perspective on an era that spanned from the Vietnam War to the AIDS crisis, putting Vawter’s own activism at the forefront. This volume’s broad historical and cultural reach, coupled with its careful study of a beloved yet enigmatic performer, will make it a tremendous resource for theater scholars and practitioners.
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Running Science
Optimizing Training and Performance
John Brewer
University of Chicago Press, 2017
Running is a deceptively simple sport. At its most basic, you need only shoes and comfortable clothes you don’t mind getting sweaty. Yet each time you lace up, all your body’s moving parts must work together to achieve a gait that will keep you injury-free. Many other factors also affect your performance, from the weather and the surface you run on to your shoes, your diet, and even your mental and emotional state. Science plays an important role in most, if not all, of these factors.
As a sports scientist and Running Fitness columnist, John Brewer has reviewed hundreds of scientific studies, and he offers runners the benefit of their findings in Running Science. Each chapter explores a different aspect of the sport through a series of questions. Many of the questions address practical matters: Do you really need to stretch? Which running shoes best suit your form and foot strike? Does carbo-loading lore stand up to scientific scrutiny—could a big bowl of spaghetti be the difference between a PR and a DNF? Other questions enhance appreciation for the incredible feats of the sport’s great athletes. (What would it take to run a two-hour marathon? Perfect weather, a straight, flat course, competition, and a lot of luck!) The answer to each question is presented in a straightforward, accessible manner, with accompanying infographics.
Whether you’re a beginner or a seasoned runner with many miles and medals behind you, Running Science is a must-have for anyone interested in the fascinating science behind the sport.
As a sports scientist and Running Fitness columnist, John Brewer has reviewed hundreds of scientific studies, and he offers runners the benefit of their findings in Running Science. Each chapter explores a different aspect of the sport through a series of questions. Many of the questions address practical matters: Do you really need to stretch? Which running shoes best suit your form and foot strike? Does carbo-loading lore stand up to scientific scrutiny—could a big bowl of spaghetti be the difference between a PR and a DNF? Other questions enhance appreciation for the incredible feats of the sport’s great athletes. (What would it take to run a two-hour marathon? Perfect weather, a straight, flat course, competition, and a lot of luck!) The answer to each question is presented in a straightforward, accessible manner, with accompanying infographics.
Whether you’re a beginner or a seasoned runner with many miles and medals behind you, Running Science is a must-have for anyone interested in the fascinating science behind the sport.
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