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  Subjects -> HUMANITIES (Total: 943 journals)
    - ASIAN STUDIES (166 journals)
    - CLASSICAL STUDIES (136 journals)
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    - HUMANITIES (289 journals)
    - NATIVE AMERICAN STUDIES (28 journals)

HUMANITIES (289 journals)                  1 2     

Showing 1 - 71 of 71 Journals sorted alphabetically
Aboriginal and Islander Health Worker Journal     Full-text available via subscription   (Followers: 14)
Aboriginal Child at School     Full-text available via subscription   (Followers: 5)
About Performance     Full-text available via subscription   (Followers: 11)
Access     Full-text available via subscription   (Followers: 25)
ACCESS: Critical Perspectives on Communication, Cultural & Policy Studies     Full-text available via subscription   (Followers: 9)
Acta Academica     Full-text available via subscription   (Followers: 6)
Acta Universitaria     Open Access   (Followers: 6)
Adeptus     Open Access   (Followers: 1)
Advocate: Newsletter of the National Tertiary Education Union     Full-text available via subscription   (Followers: 1)
African and Black Diaspora: An International Journal     Hybrid Journal   (Followers: 12)
African Historical Review     Hybrid Journal   (Followers: 16)
AFRREV IJAH : An International Journal of Arts and Humanities     Open Access   (Followers: 4)
Agriculture and Human Values     Hybrid Journal   (Followers: 14)
Akademika : Journal of Southeast Asia Social Sciences and Humanities     Open Access   (Followers: 7)
Aldébaran     Open Access   (Followers: 3)
Alterstice : Revue internationale de la recherche interculturelle     Open Access  
Altre Modernità     Open Access   (Followers: 3)
Amaltea. Revista de mitocrítica     Open Access   (Followers: 1)
American Imago     Full-text available via subscription   (Followers: 3)
American Journal of Humanities and Social Sciences     Open Access   (Followers: 10)
American Review of Canadian Studies     Hybrid Journal   (Followers: 7)
Anabases     Open Access  
Analyse & Kritik. Zeitschrift für Sozialtheorie     Hybrid Journal   (Followers: 1)
Angelaki: Journal of Theoretical Humanities     Hybrid Journal   (Followers: 15)
Anglo-Saxon England     Hybrid Journal   (Followers: 34)
Antik Tanulmányok     Full-text available via subscription  
Antipode     Hybrid Journal   (Followers: 56)
Anuario Americanista Europeo     Open Access  
Arbutus Review     Open Access   (Followers: 1)
Argumentation et analyse du discours     Open Access   (Followers: 5)
Ars & Humanitas     Open Access   (Followers: 13)
Artes Humanae     Open Access  
Arts and Humanities in Higher Education     Hybrid Journal   (Followers: 37)
Asia Europe Journal     Hybrid Journal   (Followers: 5)
Australasian Journal of Popular Culture, The     Hybrid Journal   (Followers: 2)
Behaviour & Information Technology     Hybrid Journal   (Followers: 52)
Behemoth     Open Access   (Followers: 3)
Belin Lecture Series     Open Access   (Followers: 1)
Bereavement Care     Hybrid Journal   (Followers: 13)
Bulletin of the School of Oriental and African Studies     Hybrid Journal   (Followers: 19)
Cahiers de praxématique     Open Access   (Followers: 1)
Cankiri Karatekin University Journal of Faculty of Letters     Open Access  
Carl Beck Papers in Russian and East European Studies     Full-text available via subscription   (Followers: 6)
Child Care     Full-text available via subscription   (Followers: 6)
Choreographic Practices     Hybrid Journal   (Followers: 1)
Chronicle of Philanthropy     Full-text available via subscription   (Followers: 2)
Ciencias Sociales y Humanidades     Open Access   (Followers: 3)
Claroscuro     Open Access   (Followers: 1)
Coaching: An International Journal of Theory, Research and Practice     Hybrid Journal   (Followers: 9)
Cogent Arts & Humanities     Open Access   (Followers: 3)
Colloquia Humanistica     Open Access  
Communication and Critical/Cultural Studies     Hybrid Journal   (Followers: 28)
Comprehensive Therapy     Hybrid Journal   (Followers: 3)
Congenital Anomalies     Hybrid Journal   (Followers: 1)
Conjunctions. Transdisciplinary Journal of Cultural Participation     Open Access   (Followers: 4)
Conservation Science in Cultural Heritage     Open Access   (Followers: 10)
Cornish Studies     Hybrid Journal   (Followers: 2)
Creative Industries Journal     Hybrid Journal   (Followers: 8)
Critical Arts : South-North Cultural and Media Studies     Hybrid Journal   (Followers: 11)
Crossing the Border : International Journal of Interdisciplinary Studies     Open Access   (Followers: 5)
Cuadernos de historia de España     Open Access   (Followers: 3)
Cultural History     Hybrid Journal   (Followers: 26)
Cultural Studies     Hybrid Journal   (Followers: 55)
Culturas     Open Access   (Followers: 1)
Culture, Theory and Critique     Hybrid Journal   (Followers: 27)
Daedalus     Hybrid Journal   (Followers: 21)
Dandelion : Postgraduate Arts Journal & Research Network     Open Access   (Followers: 4)
Death Studies     Hybrid Journal   (Followers: 19)
Debatte: Journal of Contemporary Central and Eastern Europe     Hybrid Journal   (Followers: 4)
Digital Humanities Quarterly     Open Access   (Followers: 53)
Diogenes     Hybrid Journal   (Followers: 8)
Doct-Us Journal     Open Access  
Dokuz Eylül Üniversitesi Edebiyat Fakültesi Dergisi / Dokuz Eylül University Journal of Humanities     Open Access  
Dorsal Revista de Estudios Foucaultianos     Open Access  
e-Hum : Revista das Áreas de Humanidade do Centro Universitário de Belo Horizonte     Open Access   (Followers: 2)
Early Modern Culture Online     Open Access   (Followers: 35)
Égypte - Monde arabe     Open Access   (Followers: 6)
Eighteenth-Century Fiction     Full-text available via subscription   (Followers: 17)
Éire-Ireland     Full-text available via subscription   (Followers: 7)
En-Claves del pensamiento     Open Access   (Followers: 1)
Enfoques     Open Access  
Ethiopian Journal of the Social Sciences and Humanities     Full-text available via subscription   (Followers: 8)
Études arméniennes contemporaines     Open Access   (Followers: 1)
Études canadiennes / Canadian Studies     Open Access   (Followers: 1)
Études de lettres     Open Access   (Followers: 3)
European Journal of Cultural Studies     Hybrid Journal   (Followers: 27)
European Journal of Social Theory     Hybrid Journal   (Followers: 18)
Expositions     Full-text available via subscription  
Fronteras : Revista de Ciencias Sociales y Humanidades     Open Access   (Followers: 2)
Frontiers in Digital Humanities     Open Access   (Followers: 2)
Fudan Journal of the Humanities and Social Sciences     Hybrid Journal  
GAIA - Ecological Perspectives for Science and Society     Full-text available via subscription   (Followers: 2)
German Research     Hybrid Journal   (Followers: 1)
German Studies Review     Full-text available via subscription   (Followers: 27)
Germanic Review, The     Hybrid Journal   (Followers: 6)
Globalizations     Hybrid Journal   (Followers: 9)
Gothic Studies     Full-text available via subscription   (Followers: 18)
Gruppendynamik und Organisationsberatung     Hybrid Journal   (Followers: 2)
Habitat International     Hybrid Journal   (Followers: 6)
Hacettepe Üniversitesi Edebiyat Fakültesi Dergisi     Open Access   (Followers: 2)
Harvard Journal of Asiatic Studies     Full-text available via subscription   (Followers: 13)
Heritage & Society     Hybrid Journal   (Followers: 17)
History of Humanities     Full-text available via subscription   (Followers: 5)
Hopscotch: A Cultural Review     Full-text available via subscription   (Followers: 1)
Human Affairs     Hybrid Journal   (Followers: 1)
Human and Ecological Risk Assessment: An International Journal     Hybrid Journal   (Followers: 4)
Human Nature     Hybrid Journal   (Followers: 20)
Human Performance     Hybrid Journal   (Followers: 5)
Human Remains and Violence : An Interdisciplinary Journal     Full-text available via subscription  
Human Studies     Hybrid Journal   (Followers: 9)
humanidades     Open Access  
Humanitaire     Open Access   (Followers: 2)
Humanities     Open Access   (Followers: 12)
Humanities Diliman : A Philippine Journal of Humanities     Open Access  
Hungarian Cultural Studies     Open Access  
Hungarian Studies     Full-text available via subscription  
Ibadan Journal of Humanistic Studies     Full-text available via subscription  
Inkanyiso : Journal of Humanities and Social Sciences     Open Access   (Followers: 1)
Insaniyat : Journal of Islam and Humanities     Open Access  
Inter Faculty     Open Access  
Interim : Interdisciplinary Journal     Open Access   (Followers: 4)
International Journal for History, Culture and Modernity     Open Access   (Followers: 7)
International Journal of Arab Culture, Management and Sustainable Development     Hybrid Journal   (Followers: 7)
International Journal of Cultural Studies     Hybrid Journal   (Followers: 28)
International Journal of Heritage Studies     Hybrid Journal   (Followers: 18)
International Journal of Humanities and Arts Computing     Hybrid Journal   (Followers: 13)
International Journal of Humanities and Cultural Studies     Open Access   (Followers: 7)
International Journal of Humanities of the Islamic Republic of Iran     Open Access   (Followers: 10)
International Journal of Listening     Hybrid Journal   (Followers: 4)
International Journal of the Classical Tradition     Hybrid Journal   (Followers: 12)
Interventions : International Journal of Postcolonial Studies     Hybrid Journal   (Followers: 17)
ÍSTMICA. Revista de la Facultad de Filosofía y Letras     Open Access   (Followers: 1)
Jangwa Pana     Open Access  
Jewish Culture and History     Hybrid Journal   (Followers: 19)
Journal de la Société des Américanistes     Open Access  
Journal des africanistes     Open Access   (Followers: 1)
Journal des Economistes et des Etudes Humaines     Hybrid Journal  
Journal for Cultural Research     Hybrid Journal   (Followers: 11)
Journal for General Philosophy of Science     Hybrid Journal   (Followers: 7)
Journal for New Generation Sciences     Open Access   (Followers: 4)
Journal for Research into Freemasonry and Fraternalism     Hybrid Journal  
Journal for Semitics     Full-text available via subscription   (Followers: 8)
Journal Of Advances In Humanities     Open Access   (Followers: 3)
Journal of Aesthetics & Culture     Open Access   (Followers: 22)
Journal of African American Studies     Hybrid Journal   (Followers: 10)
Journal of African Cultural Studies     Hybrid Journal   (Followers: 5)
Journal of African Elections     Full-text available via subscription  
Journal of Arts & Communities     Hybrid Journal   (Followers: 6)
Journal of Arts and Humanities     Open Access   (Followers: 20)
Journal of Arts and Social Sciences     Open Access  
Journal of Bioethical Inquiry     Hybrid Journal   (Followers: 3)
Journal of Cultural Economy     Hybrid Journal   (Followers: 9)
Journal of Cultural Geography     Hybrid Journal   (Followers: 21)
Journal of Data Mining and Digital Humanities     Open Access   (Followers: 33)
Journal of Developing Societies     Hybrid Journal   (Followers: 1)
Journal of Family Theory & Review     Hybrid Journal   (Followers: 3)
Journal of Franco-Irish Studies     Open Access   (Followers: 1)
Journal of Happiness Studies     Hybrid Journal   (Followers: 26)
Journal of Interactive Humanities     Open Access   (Followers: 3)
Journal of Intercultural Communication Research     Hybrid Journal   (Followers: 15)
Journal of Intercultural Studies     Hybrid Journal   (Followers: 10)
Journal of Interdisciplinary History     Hybrid Journal   (Followers: 22)
Journal of Labor Research     Hybrid Journal   (Followers: 19)
Journal of Medical Humanities     Hybrid Journal   (Followers: 22)
Journal of Medieval and Early Modern Studies     Full-text available via subscription   (Followers: 33)
Journal of Modern Greek Studies     Full-text available via subscription   (Followers: 4)
Journal of Modern Jewish Studies     Hybrid Journal   (Followers: 14)
Journal of Open Humanities Data     Open Access   (Followers: 2)
Journal of Semantics     Hybrid Journal   (Followers: 12)
Journal of the Musical Arts in Africa     Hybrid Journal   (Followers: 1)
Journal of Visual Culture     Hybrid Journal   (Followers: 33)
Journal Sampurasun : Interdisciplinary Studies for Cultural Heritage     Open Access   (Followers: 1)
Jurisprudence     Hybrid Journal   (Followers: 18)
Jurnal Ilmu Sosial dan Humaniora     Open Access  
Jurnal Pendidikan Humaniora : Journal of Humanities Education     Open Access   (Followers: 1)
Jurnal Sosial Humaniora     Open Access   (Followers: 2)
L'Orientation scolaire et professionnelle     Open Access   (Followers: 1)
La lettre du Collège de France     Open Access   (Followers: 1)
Lagos Notes and Records     Full-text available via subscription  
Language and Intercultural Communication     Hybrid Journal   (Followers: 22)
Language Resources and Evaluation     Hybrid Journal   (Followers: 5)
Law and Humanities     Hybrid Journal   (Followers: 6)
Law, Culture and the Humanities     Hybrid Journal   (Followers: 9)
Le Portique     Open Access   (Followers: 1)
Leadership     Hybrid Journal   (Followers: 38)
Legal Ethics     Hybrid Journal   (Followers: 13)
Legon Journal of the Humanities     Full-text available via subscription  
Letras : Órgano de la Facultad de Letras y Ciencias Huamans     Open Access   (Followers: 1)
Literary and Linguistic Computing     Hybrid Journal   (Followers: 5)
Litnet Akademies : 'n Joernaal vir die Geesteswetenskappe, Natuurwetenskappe, Regte en Godsdienswetenskappe     Open Access  
Lwati : A Journal of Contemporary Research     Full-text available via subscription   (Followers: 2)
Measurement     Hybrid Journal   (Followers: 2)
Medical Humanities     Hybrid Journal   (Followers: 21)
Medieval Encounters     Hybrid Journal   (Followers: 8)
Médiévales     Open Access   (Followers: 3)
Mélanges de la Casa de Velázquez     Partially Free  
Memory Studies     Hybrid Journal   (Followers: 34)
Mens : revue d'histoire intellectuelle et culturelle     Full-text available via subscription  
Messages, Sages and Ages     Open Access  
Mind and Matter     Full-text available via subscription   (Followers: 3)

        1 2     

Journal Cover
About Performance
Number of Followers: 11  
  Full-text available via subscription Subscription journal
ISSN (Print) 1324-6089
Published by RMIT Publishing Homepage  [399 journals]
  • Issue 14/15 - List of contributors
    • PubDate: Mon, 7 May 2018 15:46:21 GMT
  • Issue 14/15 - 'Things to be seen': Spectacle and the performance of brand
           in contemporary fashion shows
    • Abstract: Findlay, Rosie
      In some ways, fashion and the performance genre of spectacle are analogues. Both fashion and spectacle are intended to be superficial, their meanings located and enacted on their enticing surfaces. Both are designed to captivate the eye and appeal to the senses; and both are ambiguous, allowing for a multiplicity of meanings and associations in the minds of those that apprehend them. The fashion show is the apotheosis of these two entities, where fashion's product comes to life, and spectacle's ethos of "bigger is better" is employed to directly appeal to the consumer. All that is primarily demanded of the audience of a fashion show is that they look.

      PubDate: Mon, 7 May 2018 15:46:21 GMT
  • Issue 14/15 - Art object as citizen: Mike Kelley's 'mobile homestead in
    • Abstract: Anderson, Mary; Haley, Richard
      Mobile Homestead is a reconstruction of the artist Mike Kelley's childhood home in the Detroit suburb of Westland. The piece has so far undergone three phases of development. The first phase of the project's realisation began in 2010, when a replica of the fa ade of the house was placed on a flatbed truck and toured from the city of Detroit to Westland and then back again. Extensive photographic and video documentation from that phase was shown at the 2012 Whitney Biennial, accompanied by a scathing critique of public art written by Kelley himself, published in the Biennial catalogue. The second phase of the realisation of the project, which occurred after Kelley's tragic death by suicide in early 2012, has involved the construction of the fullscale version of the Westland house-now a permanent fixture at the Museum of Contemporary Art Detroit (MOCAD). The third phase has included the development of a curatorial program of community activities that take place inside the Mobile Homestead.

      PubDate: Mon, 7 May 2018 15:46:21 GMT
  • Issue 14/15 - Word on the street: Performing language's multiple
           belongings in the New South Africa
    • Abstract: Lever, Carla
      South African apartheid functioned as a dominant identity discourse, ascribing to everything a place and keeping everything in its place. The "new South Africa," though hardly a tabula rasa, certainly presents new opportunities for identity construction and power shifts within the broken vestiges of an old racialised framework. In this new space of seeming permissiveness, people are caught between traditions, between lines drawn along borders of space and race. Whilst many still find refuge in familiar identities, clinging to cultural customs that define them as a stable faction within a contested whole, increasingly people are searching for ways to negotiate the borders, carving out spaces between and among, to articulate something of what it feels like to be part of this so-called rainbow nation.

      PubDate: Mon, 7 May 2018 15:46:21 GMT
  • Issue 14/15 - The sweater's baby and the docker's cat: Performing
           occupation of public space in the 1889 london dock strike
    • Abstract: Nield, Sophie
      In 2011, a movement started in response to a suggestion from the Canadian activist network Adbusters that Wall Street be occupied. Inspired by the taking of public squares and streets during uprisings in Egypt and Tunisia, by late 2011, upward of one thousand occupations were in place, and the international movement known as "Occupy" had become a global phenomenon. As David Harvey wrote, "the tactic [...] is to take a central public space, a park or square, close to where many of the levers of power are centred, and, by putting human bodies in that space, convert a public space into political commons" (2012, 161). Although drawing on several traditions of direct action, in which symbolic actions of protest are combined with real-life disruption-the blockade, the sit-in, the boycott, and increasingly, forms of durational protest-Occupy was nevertheless claimed as a new form. Noam Chomsky commented, "the [...] movement is a very exciting development. In fact, it's kind of spectacular. It's unprecedented. There's never been anything like it that I can think of" (2012, 9). Of course, Occupy did look to its own history, but this tended to be in terms of the history of its own direct antecedents-the anti-World Trade Organisation (WTO) and anti-G8 protests of the 1990s and 2000s, environmental direct-action campaigns such as those of Greenpeace and Reclaim the Streets, and so on-rather than the history of its tactics and strategies.

      PubDate: Mon, 7 May 2018 15:46:21 GMT
  • Issue 14/15 - Derry: City and cultural capital
    • Abstract: Moore, Paul
      Since 2007, I have been "over here" in Ireland, where I have had the opportunity to adapt the research skills I acquired through performance studies and subsequent research in creative practice as an actor and theatre maker. In the past I have written about my own and others' experiences of actor training and actors' attempts to enter and remain involved in professional life (Moore 2004). In this paper, which describes arts making within the broader project of the Derry City of Culture 2013, I will again focus on the antagonistic nature of cultural work and our struggles as artists to produce. In doing so, I contrast concepts of cultural capital as proposed by Robert Putnam and Pierre Bourdieu. Putnam's liberal views of culture have had tremendous influence on government and arts funding policy internationally and lay at the heart of the City of Culture 2013 project, its stated objectives, and predicted impact. Applying Bourdieu's ideas of cultural capital will enable me to scrutinise the City of Cultures positive aims and effects and also to examine the power structures and particularities in the fields within which I currently produce-the fields of Irish and Australian theatre and performance and the field of performance studies.

      PubDate: Mon, 7 May 2018 15:46:21 GMT
  • Issue 14/15 - Watching, waiting, listening: Audio obscura and the
           perceptual ecology of non-place
    • Abstract: Filmer, Andrew
      This essay, an experiment in critical writing, traces the modulation between work, world, and self that is set in play by Lavinia Greenlaw's sound work Audio Obscura (2011), commissioned by Artangel and the Manchester International Festival for Manchester Piccadilly and St. Pancras International stations. Known for her work as a poet and novelist, Greenlaw has written that Audio Obscura is "an exploration of the point at which we start to make sense of things; an attempt to arrest and investigate that moment, to separate its components and test their effects" (Greenlaw and Abrams 2011, 7). This reflects her long-standing interest in sense-making and "the mechanics of perception" (Greenlaw in Kendall 1997) which has been expressed in her early collections of poetry and in her collaboration with photographer Garry Fabian Miller. In Audio Obscura, the participant, donning headphones and listening to a prerecorded soundtrack whilst standing in a railway station, is positioned at a threshold between interior and exterior, between seeing and hearing, and between sensory perception and meaning making. This positioning is a common feature of much site-specific theatre and performance practice which, through the evocation of multiple frames, places the spectator in a liminal state, destabilising perception and self (Fischer-Lichte 2008, 95). This dislocated and deterritorialised position, in which neither the work, nor the world, nor the self are as certain as they once were, thematises the relationship of the spectator to the environment around them, making the renegotiation of one's relationship to the world a particular focus of this sort of work (see Turner 2004).

      PubDate: Mon, 7 May 2018 15:46:21 GMT
  • Issue 14/15 - Punchdrunk, the immersive, and gothic tourism
    • Abstract: Luckhurst, Mary
      In the last ten years, so-called immersive theatre has moved from the counter-cultural periphery of conventional theatre to the fashionable mainstream, as companies such as Slung Low, Shunt, Blast Theory, dreamthinkspeak, and Badac have demonstrated. Punchdrunk's trajectory since they launched their company in 2000 is perhaps the model example of the swiftness with which this form of theatre has taken hold in the business, their two most recent shows Sleep No More (New York premiere 2011) and The Drowned Man (London premiere 2013) finding mass commercial audiences on both sides of the Atlantic. Sleep No More, inspired by Macbeth, and a reinvention of an earlier 2003 Punchdrunk production, won the Drama Desk Award for Unique Theatrical Experience and garnered special citations for design at the 2011 Obie Awards. In their collaboration with the Royal National Theatre on The Drowned Man, Punchdrunk once more penetrated the heart of establishment theatre in England and its scale and initial cost outlay were, in some respects, more comparable to a West End or Broadway musical: the playing environment covered 200,000 square feet and there were 600 spectators per show with a cast that neared forty. On their website Punchdrunk articulates its intervention as "a game changing form of immersive theatre in which roaming audiences experience epic storytelling inside sensory theatrical worlds." Punchdrunk, it is claimed, "has developed a phenomenal reputation for transformative productions that focus as much on the audience and the performance space as on the performers and narrative" (Punchdrunk 2014a).

      PubDate: Mon, 7 May 2018 15:46:21 GMT
  • Issue 14/15 - The anniversary issue: Celebrating thirty years of
           performance studies at the University of Sydney
    • Abstract: Card, Amanda
      This year, About Performance celebrates thirty years of the teaching of performance studies in the Faculty of Arts and Social Sciences, the University of Sydney-the journal's home. To mark the occasion, we have produced a special issue, a double issue, with an oversized sixteen articles. There have been thirteen issues of About Performance to date. The first appeared in 1995, and each edition has collected its papers around a special theme. Successive editors have explored the lives of actors (no. 13), risk and performance (no. 12), movement (no. 11), audiences (no. 10), politics and performance (no. 9), photography as/of performance (no. 8), site-specific theatre (no. 7), rehearsal studies (no. 6), Body Weather (no. 5), performance analysis (no. 4), theatre (no. 3), crosscultural performance (no. 2), and translation (no. 1). Upcoming issues of About Performance, currently in the works, are on fashion, phenomenology, medicine, and the history of emotions. Although this anniversary issue, Performance Studies: Here, There, Then, Now, has no specific organisational theme, there are two things that bring the edition together: the subjects explored in each paper follow in the theoretical and methodological veins of our catalogue to date, adding to an image of the discipline as About Performance has explored it; and each papers' author has had, and in many cases continues to have, an association with the Department of Theatre and Performance Studies at the University of Sydney. There are papers from established and emerging scholars: former and current students, visiting fellows, current and former academic staff, as well as research and artistic associates.

      PubDate: Mon, 7 May 2018 15:46:21 GMT
  • Issue 14/15 - Globalisation, transgress ion, and the call to performance
    • Abstract: Cheng, Nien Yuan
      I was nineteen years old, fresh out of junior college and on a production internship at my favourite Singaporean theatre company (The Necessary Stage), when I decided that my next academic move should be studying at the University of Sydney with performance studies as my major. I wrote an email to my father, who lives in Shanghai, and stated the reasons for my choice-as opposed to taking business, economics, or law (I am a child of a Singaporean-Chinese family after all). The University of Sydney ranked high in the academic world, especially in the arts and humanities, and I would be following my passion (and also my father's unfulfilled love) for theatre and the performing arts. I would not, however, be limited by this passion, as I wrote in the email.

      PubDate: Mon, 7 May 2018 15:46:21 GMT
  • Issue 14/15 - Interdisciplinary field or emerging discipline'
           Performance studies at the University of Sydney
    • Abstract: McAuley, Gay
      At the final session of the PSi (Performance Studies International) conference in Singapore in 2004, conference co-organiser Ray Langenbach reported that preliminary analysis of the participants indicated that twenty percent were locals living in Singapore, forty percent came from other Asian countries, fifteen percent from Europe, and twenty-five percent from America. Someone called out from the floor, "Where did you put Australia'" The laughter provoked was intensified when Ray admitted that he did not know the answer. This incident reveals in an almost emblematic way the ambivalent position of Australia in relation to dominant geopolitical and cultural forces at the beginning of the twenty-first century. Is Australia part of Europe (the majority of its citizens are of European descent and its institutions are overwhelmingly British in origin), or part of the geographical region (its closest neighbours are Papua New Guinea and Indonesia)' Or has it now become a virtual outpost of the United States, as Prime Minister John Howard implied when, to the dismay of most Australians, he expressed himself willing to be seen as George Bush's deputy sheriff in the region' It was, of course, an Australian who asked the question, for it is Australians who experience most directly the uncertainties as to where their country is located-and is seen to be located-within the global polity, and where they themselves would locate it. The gap between the view or views from within and views from without indicates the complexity of the country's current colonial/postcolonial situation and the way this impacts upon relations with both geographical neighbours and erstwhile colonial authorities.

      PubDate: Mon, 7 May 2018 15:46:21 GMT
  • Issue 14/15 - Parallel evolution: Performance studies at the University of
    • Abstract: Maxwell, Ian
      The break-out box at the foot of that same page offers a potted genealogy of this last department, an account gleaned from a posting on that department's website. Throughout the ensuing pages, Schechner's mapping of the field returns, perhaps inevitably, to that with which the he is most familiar: the development of the discipline at New York University, drawing on solicited accounts from NYU colleagues Barbara Kirshenblatt-Gimblett (6), Diana Taylor (7-8), and an extract from Peggy Phelan's Introduction to her 1998 The Ends of Performance (9). The Centre for Performance Research at Aberystwyth is briefly mentioned on page sixteen, although that account quickly turns to a narrative of Performance Studies International-this narrative arcing towards the 2002 PSi conference "back" at NYU, and the publication of The Ends of Performance, edited by two prominent North American theorists, Phelan and Jill Lane.

      PubDate: Mon, 7 May 2018 15:46:21 GMT
  • Issue 14/15 - 'We are seeing what we saw before': The ghosts of student
    • Abstract: Hay, Chris
      In March 2013, I returned to an on-campus space at the University of Sydney to direct a student production of Tracy Letts's 2007 play August: Osage County for the Sydney University Dramatic Society (SUDS). It was a space with which I had been intimately familiar as an undergraduate and as the rehearsal process went on, I found myself time and time again citing the work I had made and seen at SUDS in the preceding years to stimulate all manner of discussions around design, rehearsal, and meaning-making. At the same time, the space itself continually reminded me of all this history. From properties, costumes, and equipment, to the marks quite literally returning through the floor, I could hardly move for all the ghosts in these "mnemonically highly charged surroundings" (Carlson 2001, 145). The objects in the space and indeed the space itself were "possessed by the voices of the past" (Sofer 2003, 27), providing glimpses and impressions of a history continually painted over but never quite covered up.

      PubDate: Mon, 7 May 2018 15:46:21 GMT
  • Issue 14/15 - Ontological queasiness : Antitheatricality and the history
           of being
    • Abstract: Johnston, Daniel
      In Euripides's The Bacchae (405 BCE), Agave inadvertently rips apart her son Pentheus in a frenzy of Dionysian ecstasy, having been enchanted by the god of deindividuation and excess. In Seneca's Thyestes (c. 62 CE), the inebriated eponymous hero eats his own sons in a meal served by his jealous rival and brother, oblivious of the contents in the grisly dish before him. In Webster's The Duchess of Malfi (1612), the distraught, imprisoned, and psychologically tortured Duchess discovers limbs and body parts in her darkened cell that she believes belong to her beloved Antonio and children, unaware that they are, in fact, wax figures planted by her captives. In Ibsen's A Doll's House (1879), the dramatic conflict centres upon self-deception: Nora withholds the truth from her husband about a loan she has illegally secured for a noble reason, only realising in the end that she has been deceiving herself about this man's love for her and coming to understand that she has been merely been playing the part of good wife. The recurring motifs of deception and misrecognition (exploiting the gap between what is and what is not) seem intimately linked to theatricality itself across this vast expanse of time (Burwick 2010). One might even argue that the tension between the appearance and reality of things approaches the essence of drama.

      PubDate: Mon, 7 May 2018 15:46:21 GMT
  • Issue 14/15 - Writing experience. Address ing the limits. Phenomenology of
    • Abstract: McNeilly-Renaudie, Jodie
      Writing about our experiences of performing, training, rehearsing, or watching others perform, train, or rehearse has been, and will continue to be, a contested area of concern in the study of performance. Approaches to the problem vary widely. On the one hand, the possibility of experience is questioned in an ontological denial of subjectivity, and a fascination with process and event; on the other, a subject's thoughts, feelings, sensations, and imaginings are the only presentational registrations of experiential phenomena. It is to this aspect of experience that this paper is directed.

      PubDate: Mon, 7 May 2018 15:46:21 GMT
  • Issue 14/15 - Corporeal eidetics, corporeal hermeneutics, and body weather
    • Abstract: Grant, Stuart
      The term embodied knowledge is increasingly used to describe a loose, diverse, and heterogeneous array of phenomena. This essay approaches the question of how it might be possible for a body to "know" and suggests two phenomenological, corporeal methods, interpretive and generalising, which might open an understanding of the complex interactions between corporeality, knowledge, representation, and performance.

      PubDate: Mon, 7 May 2018 15:46:21 GMT
  • Issue 14/15 - Staging de Quincey: Soundscape and literary language in tess
           de quincey's ghost quarters
    • Abstract: Goodall, Jane; Stevenson, Ian
      A door opens partially, and a hand appears, then a face, blurred in the half-light. The advancing figure makes its entrance with a slow fluidity that suggests ectoplasm, and in fact this is not a physical entity. It hovers in space for a few seconds, semitransparent, before dematerialising, along with the traces of the portal through which it just passed. Then, as the light grows and the eye discovers more of the surrounding space, another figure is revealed, with the same aura of pale hair surrounding the upturned face-but this is a gravity-bound presence, and as it rises from the floor, its movements are a confusion of impulses. It is quite literally finding its feet.

      PubDate: Mon, 7 May 2018 15:46:21 GMT
  • Issue 14/15 - 'This is what I had been looking for': Australian
           practitioners on finding butoh and body weather
    • Abstract: Robertson, Jasmine
      At first glance, many stories of conversion to butoh seem instantaneous, like Helen Smith's above. After participating in a class or seeing a show, the dancer in question is hooked-quickly becoming consumed by the demands of the butoh or Body Weather world and never looking back. In this article I explore the recurring story of conversion, focusing on Australian artists. Butoh and Body Weather have been influential practices to the Australian performance landscape since the late twentieth century. Such artistic conversion stories are often framed within a common discourse of "West consumes the East," in line with the appropriative history of Orientalism. However, through a history involving first-person interviews with practitioners, this article argues that such a narrative does not wholly account for the ways in which dance practitioners like Smith have adopted an "Eastern" form of training as a lifelong passion (a form of training that becomes a total lifestyle that is often all-consuming), and a process of devising performance that is inspired by their new form.

      PubDate: Mon, 7 May 2018 15:46:21 GMT
  • Issue 13 - Waiting to be seen: A photographic exploration of New York city
    • Abstract: Marinaccio, Ashley
      The 1975 musical hit 'A Chorus Line' offers a fly-on-the-wall perspective on the lives of performers auditioning for a chorus job in a Broadway show. As each character exposes aspects of their aspirations and anxieties through song, dance, and monologues, we glimpse, and are led to empathise with the hardships and vulnerability associated with being a performer. Perhaps most revealing is the way in which each of these people wants - yearns - to be seen, to work, and, ultimately, to be validated in their chosen path. The actors represented in 'A Chorus Line' are close to desperation in their desire to be given a chance to have somebody to dance for.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 13 - The lives of actors
    • PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 13 - List of contributors
    • PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 13 - The Australian actors' wellbeing study: A preliminary report
    • Abstract: Maxwell, Ian; Seton, Mark; Szabo, Marianna
      Performing Arts Medicine coalesced as a discipline following the first Symposium on the Medical Problems of Musicians held in 1983 in Aspen, Colorado, and the subsequent foundation of the Performing Arts Medicine Association (PAMA) in 1988, and of PAMA's journal, Medical Problems of Performing Artists (MPPA), in 1986. Initially a medical organisation limited to physicians, PAMA expanded to include all types of health professionals, as well as performers, educators, and administrators in both music and dance genres (PAMA n.d.). The inclusion of actors under the banner of Performing Arts Medicine, however, has been more recent.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 13 - 'Being inside the story': A phenomenology of onstage experience
           and the implications of flow
    • Abstract: Robb, Alison; Davies, Matthew
      Performing arts health is a collaborative field, specializing in care of a unique population who have been described as a distinctive combination of artist and athlete (Ambegoankar and Caswell 2011). The field has historically been dominated by a medical focus on injury prevention and management, particularly in music and dance, due to their parallels with sports medicine (Guptill 2011). This dominance of dance and music is also evident in psychology, with solid evidence growing around performance anxiety in musicians (Graetz Simmonds and Southcott 2012, Kirchner 2011, Kirchner, Bloom and Skutnick-Henley 2008, Studer et al. 2012) and body image in dancers (Penniment and Egan 2012, Nasciemento, Luna and Fontenelle 2012, Swami and Harris 2012). Alice Brandfonbrener (1992) commented on this, describing actors as "forgotten patients"; an inspection of the journal Medical Problems of Performing Artists for the last five years (2009-2014) reveals that of 164 listed research articles and editorials, only one is related to actors (Anderson 2011).

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 13 - Feudal positions and the pathology of contentment: Sites of
           disconnection for Australian theatre actors
    • Abstract: Crawford, Terence
      This article surveys symbolic sites of disconnection and disenfranchisement of actors, while holding connection and enfranchisement as crucial to wellbeing, and so suggests potential threats to wellbeing across the breadth of the acting challenge. The research leans upon both general and specific proximities: the first is my more than thirty years of experience as a professional actor, acting teacher, and writer in the field; the second, a period of observation of actors in rehearsal for four diverse though mainstream theatre productions in Adelaide, South Australia, in 2012, and interviews with those actors.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 13 - The academic lives of student actors: Conservatoire training as
           degree-level study
    • Abstract: Hay, Chris; Dixon, Robin
      A case could, it is believed, be easily made out for the direct establishment of an acting school under the exclusive aegis of the School of Humanities and Social Sciences. This is not recommended, out of deference to the view that the University should not be solely responsible for a course of training that includes some elements such as mime and dancing, or practical stage work that do not seem to be of academic character.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 13 - The monster under the bed: Acting and trauma in the Rabble's
           'Story of O' and 'Frankenstein'
    • Abstract: Griffiths, Jane Montgomery
      I am watching a recording of myself doing unspeakable things to another actress. I watch my arm's swing as I whip her with a riding crop. I watch my physical impassivity as I make her urinate in a cup before me. I watch my facial boredom as I force her to fellate me, and my temple's bulging veins as I bugger her on the floor. And all this between two well-behaved women who, out of rehearsals, spend most of their time discussing children's schooling and the impossibility of Melbourne property prices.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 13 - Mourning becomes catharsis: An autoethnographic account
    • Abstract: McFarren, Cheryl
      To play Electra in Sophocles' play of that title, the ancient Greek actor Polus purportedly brought an urn containing the real ashes of his dead son onto the stage. In the second century CE, Aulus Gellius reported in Noctes Atticae that

      [t]here was an actor in the land of Greece of widespread renown [...] This Polus lost by death a son whom he loved as no-one else. When he deemed that he had sufficiently mourned him, he returned to making money by his profession. Being at that time due to play at Athens Sophocles' Electra, he had to carry an urn supposedly containing Orestes' bones. The plot of the play is so constructed that Electra, thinking that she carries her brother's remains, bewails and bemoans his supposed death. Therefore, Polus, clad in Electra's mourning garb, took his son's urn and bones from the tomb and, embracing them in the pretense that they were Orestes', filled everywhere around, not with imitations and feignings, but with true and living grief and lamentations. Thus, while it appeared that a play was being performed, what was performed was his pain. (Holford-Stevens 2005, 501).

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 13 - The body that fits the bill: Physical capital and 'crises' of
           the body in actor training
    • Abstract: Mitchell, Roanna
      Discussions of how students are best prepared for the demands of the acting profession in UK drama school settings frequently centre around the notion of vulnerability, both for its value to engage students' capacity for creative transformation and for the possible risks it entails. At the Art of Wellbeing conference at the University of York in 2011, Ros Platton, Disability Adviser at Rose Bruford College, noted that "[t]heatre can expose things quickly and dramatically that may not come out as obviously in other contexts; [i]t is potentially a very stressful environment". At the same event Hilary Jones, Lecturer in Voice at the Royal Scottish Academy of Music and Drama, pointed out the perception "that 'suffering for art' is inherent in the creative process - artists are expected to be superhuman by the profession and Drama school training is expected to reflect this" (Art of Wellbeing, 2011).

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 13 - Portraits of actors: Elspeth Ballantyne, Julia Blake and the
           challenges of biography
    • Abstract: Pender, Anne
      Inga Clendinnen describes the process of writing biography as being morally, socially and legally dangerous (2007, n.p.). In my experience of writing biography it is dangerous morally because of the possibility that the subject and his or her circle of friends will be hurt or damaged by revelations, dangerous socially because of the contempt with which biographers are sometimes regarded (even in scholarly communities), and dangerous legally because of the potential for legal problems arising from statements made by the biographer. Mark McKenna sums up another difficulty with the genre, following Ray Monk's acknowledgement of the "inherently untheoretical" character of biography (McKenna 2013, 89). Virginia Woolf articulates the primary problems of writing biography when she refers to the attempt to combine the "granite-like solidity" of "truth" with the "rainbow-like intangibility" of "personality." (1958, 149). Woolf also contends that "the biographer does more to stimulate the imagination than any poet or novelist save the very greatest" (2014, n.p.). Clendinnen accepts Woolf 's sense of the "impossibility of biography," and quotes Louis-Ferdinand Celine's view that "we never know anyone's real inside story" (Clendinnen 2007, n.p.), but like Woolf, finds biography a compelling enterprise because of its transformative potential to allow us to "participate in the inner life of another person" (ibid.).

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 13 - 'Dropping a part': The changing relationship of midlife actors
           with their profession
    • Abstract: Nobis, Felix
      The 2014 edition of the Australian online actor database Showcast lists 12,700 adult actors. Of these just over a quarter - 3,160 - are aged between forty and sixty. While the training of actors continues to attract a great deal of scholarly discussion, there is less attention to how actors sustain themselves later in their careers. Such a conversation might consider how 'midlife' actors sustain their professional identities, as well as asking how they sustain themselves - financially, physically and emotionally - as they progress through middle age. These considerations are important not only because "career sustainability for mid-career artists" continues to be identified as an "ongoing issue" across the arts by bodies like the Australia Council (Myer 2014, 5), but also because debates about nurturing performance talent in this country are incomplete if they focus only on a vast number of younger actors at one end of the continuum, and a tiny selection of successful actors on the other. This article seeks to contribute to the discourse by speaking with a range of actors in their forties and fifties about what it means to 'be an actor' at this point in their lives, and how their relationship with the profession has changed as they negotiate these years. Presenting selections from interviews conducted with a diverse sample of 'midlife actors', it allows an often under-represented coterie of actors the opportunity to reflect on issues in their own words. Finally, the article asks how such insights can better serve the needs of older actors, as well as better prepare younger actors as they enter the industry.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 12 - "Do what you want, matey": Serious play, risk, and the Chaser's
           War on Everything
    • Abstract: Maxwell, Ian
      The foundational gesture of the discipline of performance studies, as Jon McKenzie has noted (2003), turns on something of a celebration of ambiguity. One aspect of what McKenzie refers to as the "liminal norm" of performance studies is the recognition and celebration of the openness of performativity, the flexibility of the performative moment, and the potential therefore created for a critical engagement with the rigidity of various forms of authority. Liminality, however, on a strictly Turnerian account, is less about marginality and opposition than it is about mediation: threshold moments balanced between the certainties of either structure or anti-structure, carnival or Lent, Dionysus or Apollo.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 12 - Performing memory on the streets of Vienna
    • Abstract: Frostig, Karen
      The Vienna Project is a new social action memorial project taking place on the streets of Vienna as I write, beginning in October 2013 and concluding in October 2014. Developed as durational performance, and performance art linked to demonstrating social agency, The Vienna Project aims to disrupt passive habits of remembrance by inviting audiences to actively engage with memory through a series of public interventions. Joining collaboration with a participatory model of engagement, The Vienna Project's memorial content is co-produced by a mix of historians, researchers, artists, students, educators, and technologists, as well as the general public. Developed as a collaborative enterprise, The Vienna Project elicits multiple perspectives of remembrance that are reflective of a city still coming to terms with the past, seventy-five years after the crimes of the Holocaust were committed.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 12 - Breaking the silence: Exploring experiences of post-traumatic
           stress disorder with returned veterans to develop a contemporary
           performance narrative, the return
    • Abstract: Hassall, Linda
      The following article provides a discussion of the levels of real and perceived risks specific to The Return, an applied performance narrative. Elements of risk are addressed from within the phases of creation and development and are discussed from the positions of: interpretation, representation, and reception of the work. The Return draws on testimony and recounted experiences of returned service personnel living with post-traumatic stress disorder (PTSD) and links narrative inquiry with applied theatre processes and practices. Between January and June 2013 I worked with male service men and veterans from various military conflicts spanning almost fifty years. Importantly, I also worked with their family members. As playwrightresearcher, I met with the informants, usually in their homes, and they shared their personal stories with me. The informants were asked to reveal personal trauma injuries and openly discuss their PTSD symptoms, which I would then interpret into dramatic form. They were also asked to place their trust in an artistic process that aimed at representing these experiences, in some instances as interpreted by actors through performance. During this phase, some of the ex-soldiers took on performance roles working alongside actors and other creative artists. Together, they developed a rehearsed reading of the text for an audience, who themselves received the work filtered through their own experience of and associations with the subject matter.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 12 - Getting into the box: Risky enactments of remorse in the
    • Abstract: Rossmanith, Kate
      At a conference in 2011, I delivered a presentation about the ways in which people's remorse is enacted and assessed in the criminal justice system. Being a performance studies scholar, I was, at the time, new to socio-legal research, so the questions I was asking were largely preliminary. Afterwards, a silver-haired man in a corduroy jacket introduced himself. His name was David, he was a writer from Melbourne, and he was curious about courtrooms.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 12 - Introduction
    • Abstract: Dwyer, Paul; Hunter, Mary Ann; Shih Pearson, Justine
      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 12 - List of contributors
    • PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 12 - What if': Performance is risk
    • Abstract: Grant, Stuart
      For the comedian facing the audience, for the shaman invoking the spirits, for the footballer measuring the goalposts, the crucial emergent moment at which they perform their action is the moment of risk, the risk of failure - that the audience might not laugh, that the spirit will not come forth, that the goal will be missed, that the desired state of affairs will not emerge. This essay contends that the underlying temporality of this risk, the specific structure of expectation and eventality, is what constitutes these events as performance.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 12 - Subtle spectacle: Risking theatricality with vertical city
    • Abstract: Barton, Bruce
      Vertical City (VC), of which I am the Artistic Director, is an interdisciplinary performance hub located in Toronto, Canada. Our use of the term "hub" - as opposed to company or collective - is intended to evoke a creative and administrative core around which a diverse and mutable combination of artistic perspectives and disciplines may orbit. YouTopia (2013) reflects VC's signature use of such postdramatic elements as aerial movement, engineered installation environments, sensory immersion, interactive intermediality, and dense live/recorded soundscapes. At the same time, our productions regularly incorporate core dramatic components of traditional theatrical performance, such as progressive narrative structures and distinct characterisation. However, we attempt to systematically relocate these familiar conventions into overtly performative contexts through pronounced interdisciplinary negotiation and the transformation of audience perception via intermedial modification. As such, although VC performances are often intensely physical, endurance-based, and executed within demanding, occasionally treacherous material environments, this essay will focus on a less obvious yet central element of risk within our work. Put most directly, VC attempts to create theatre in contexts that aim - conspicuously, intentionally, and, in our assessment, productively - to overwhelm conventional theatrical constructs and contracts. What is primarily gambled upon in a VC production, then, is sincerity: a generous, vulnerable concession of the fragility of theatrical intimacy amidst the aggressive, performative excess that reflects contemporary social experience.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 12 - Dangerous play: "Supercrip" aerialists and the Paralympic
           opening ceremony of London 2012
    • Abstract: Carter, Tina
      Aerial(ism) is a corporeally dangerous art form, generated by the body in union with suspended equipment such as trapezes, ropes, and vertical swathes of fabric. It is most commonly, but not exclusively, associated with circus and spectacle; it has historically been dominated by performers with "trained, muscular bodies [who] deliver a unique aesthetic that blends athleticism and artistic expression" (Tait 2005b, 2). Despite significant changes in aerial aesthetics throughout the twentieth and twenty-first centuries, the athletic aerialist has continued to dominate the form, working with and against a canonical body of movements that Peta Tait calls a "living history" (2005a, n.p.): movements that have passed from one aerialist to another through time.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 11 - Introduction
    • Abstract: Card, Amanda; Shih Pearson, Justine
      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 11 - Dance and the distributed body: Odissi, ritual practice, and
           Mahari performance
    • Abstract: Banerji, Anurima
      Images of the body proliferate in the cultural landscape of Orissa, a state in eastern India. Lavishly depicted in painting and stone, poetry and song, in drama, flesh, and myth, the body as a motif is etched deeply in its aesthetic terrain. Ideations of the body are manifest in multiple milieus, such as temple architecture, sculpture, and ritual mahari performance.1 Taken together, they propose a unique somatic archive and reveal concepts of the body embedded in Orissa's artistic heritage.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 11 - Discipline and pleasure: Dancing inmates in Cebu's provincial
           detention and rehabilitation center
    • Abstract: Peterson, William
      Largely absent from disciplinary regimes in the West since the eighteenth century, when prisons replaced gruesome public displays of retributive justice, spectacle has returned, reaching domestic and international audiences who witness the famed "dancing inmates" of Cebu. The argument Foucault sets out in Discipline and Punish, that the "disappearance of public executions marks [ ] the decline of the spectacle" along with "a slackening of the hold on the body" (1977, 10), is turned on its head by this highly disciplined dance spectacle where pleasure rather than punishment assumes a key role in the rehabilitation process. In the Cebu Provincial Detention and Rehabilitation Center (CPDRC), located in hills overlooking the second - largest city in the Philippines, inmates daily rehearse dance sequences to be performed before hundreds of spectators from around the country and overseas. These spectators fill the galleries on the final Saturday of every month to witness a full-length dance concert featuring approximately 1,500 dancers in the prison yard. Inmates rehearse up to four hours a day, and the discipline evident in the public spectacle is breathtakingly impressive. Through the global distribution of the work on YouTube, the dancers have found an ever-expanding viewership since 2007, when videos of the performances started appearing online.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 11 - Between machines and humans: Reflexive anthropomorphism in
           Japanese robot competitions
    • Abstract: Sone, Yuji
      ROBO-ONE is an organisation that runs popular hobby robot competitions in Japan. It showcases humanoid combat: two small-sized robots of human-like appearance, typically thirty to fifty centimetres tall, do battle in a fighting arena, a ring of around three metres in diameter. While shuffling forwards, sideways, or backwards, these bipedal, remote-controlled robots try to take their opponents down or force them outside the ring by punching, pushing, or shoving. Most of these bipedal machines are made in whole or in part from hobby robot kits available on the retail market, such as Kondo Kagaku's KHR-1. These robots can be programmed to walk and run, as well as to perform gymnastics, dance routines, or combat movements. They can be dressed up as mechanical warriors, doll- or animal-like characters, or as fantasy figures.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 11 - Choreographing the airport: Travels in thirdspace
    • Abstract: Shih Pearson, Justine
      In May of 2006 a short article appeared in the Dance section of The New York Times. It concerned the soon-to-begin renovation of Terminal 5 at John F. Kennedy International Airport (JFK), site of the iconic 1962 Trans World Airlines (TWA) Flight Centre designed by modernist architect Eero Saarinen. Closed for business soon after TWA's demise in 1994, Saarinen's terminal had been heritage listed, but its future uncertain, for close to a decade. Now occupied by budget carrier JetBlue Airways, the terminal was to undergo a revival of sorts, aligning its super-cool retrofuturist styling with the new super-cool kid on the block. Saarinen's swooping, bird-like concrete structure is symbolic of the glamorous Jet Age of travel, and is well loved by architectural critics. The article caught my eye, however, because it interviewed two performance makers involved with the project: the theatre designer/ architect David Rockwell whose architectural firm Rockwell Group was contracted to work on the interior design, and the choreographer Jerry Mitchell whom Rockwell had worked with on several Broadway productions including 2002's Hairspray and a 2000 revival of The Rocky Horror Show.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 11 - Learning the lunge: Motility in crocodile country
    • Abstract: Rossmanith, Kate
      In March 2006, a Port Douglas man in far north Queensland, Australia, found a saltwater crocodile, two and a half metres long, in his garage. It took six rangers from the wildlife sanctuary to rope the animal and return it to its nearby home. The croc had been seeking refuge from an impending cyclone and, according to rangers, it had sensed the sudden low-pressure system in the atmosphere and went searching for higher ground. The location of the man's garage had once been crocodile wetland.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 11 - Talking to My Left Foot : Performative Moves In-Between Self an
           d Landscape in Yosemite National Park
    • Abstract: Ness, Sally Ann
      The words came out encouragingly. They were gently coaxing but intently focused. They could have been directed at a child or a puppy dog or even a baby bird. However, this was not the case. I was talking to myself - or at least to a part of myself. Or at least I was talking to what I would have thought was a part of myself. I was talking to my own left foot and to the general area above it up to the knee joint.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 11 - Performing between intention and unconscious daily gesture. How
           might disabled dancers offer us a new aesthetic sensibility'
    • Abstract: Ames, Margaret
      In her key essay "Strategic Abilities: Negotiating the Disabled Body in Dance," Ann Cooper Albright critiques the production and appeal of the "supercrip" (Albright 2001, 60): the dancer who does not let physical limitations stop him/her from being a dancer, creating "representational frames of traditional proscenium performances, emphasizing the elements of virtuosity and technical expertise to reaffirm a classical body in spite of its limitations" (61). In the paradigm of the supercrip, the desire to be the same rather than other clearly positions the technically trained and nondisabled dancer's body as the ideal of aesthetic beauty. In opposition to this, Albright proposes that we must "consciously construct new images and ways of imaging the disabled body" (ibid.). My argument in this paper runs parallel to this. I want to propose that it is exactly the disability and its marks of symptom - its signs of pathology - that produces a new and radical aesthetic. An able-bodied virtuoso cannot produce this aesthetic and the site of resistance to interpellation that is found in this kind of performance. Here I will argue that in Brighton Beach, by Welsh company Cyrff Ystwyth, the performer Edward Wadsworth positions himself and appropriates space as an individual; by this I mean that he appears before his audience as a coherent subject and agent. In reversing the order of discourse between able and disabled bodies, the non-disabled performer finds himself/herself at a disadvantage, but the political implications of this reversal are not my direct concern in this paper. Rather I am interested in the aesthetic affects generated by such a performance, and more specifically what happens in the encounter in the room - in how the performer produces such affects in his choreography, and how his action produces emotional resonance and intensity within me as facilitator and witness. What new territory lies here in-between standard notions of virtuosity and disability' What new implications for aesthetic readings of the body in performance emerge from in-between this performer's specific corporeal characteristics and the ideology of the classical body that privileges, as Albright states, "ability within dance" (84).

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 11 - Epilepsy, chorea, and involuntary movements onstage: The
           politics and aesthetics of alterkinetic dance
    • Abstract: Gotman, Kelina
      On 11 and 12 December 2009, dancer and choreographer Rita Marcalo staged a twenty-four-hour event at the Bradford Playhouse, West Yorkshire, in which she abstained from her anti-epileptic medication, drank wine, ate chocolate, subjected herself to strobe lighting, and abstained from sleep. She called this event Involuntary Dances. Its aim was to enable her to trigger an epileptic seizure, for the benefit of a public gathered for the occasion, awaiting the fit, which never came. The performance-part of a trilogy of works exploring epilepsy, drugs, and movement - provoked a furore among medical professionals and members of the arts community: Marcalo was accused of exploiting her condition, making poor art, failing to raise awareness about epilepsy, and wasting funds. This essay argues that her performance, on the contrary, contributes to a long legacy of public demonstrations of epilepsy, chorea, and other epileptiform neurological disorders onstage, not least at the Salp tri re Hospital in Jean-Martin Charcot's famous Lecons du mardi. A cast of medical students, artists and writers attended these lecture-performances in the late nineteenth century, contributing to what Rae Beth Gordon has described as the emergence of epileptic singers on cabaret stages across Europe, convulsing, twitching, and jerking their bodies from the Moulin Rouge to the new comic cinema (Gordon 2003, 626ff; Gordon 2001, 534ff). But Marcalo's "dances," also indebted to a legacy of medical (and body) performance art from Orlan to Franko B, position her as the author of her epileptic spectacle, reversing the authorial role as well as the performer's status as freak and "other." In doing so, she is extending the conversation on medicalised bodies, ownership, voyeurism, and privacy to the edges of dance.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 11 - Bungaree and the grand corroboree: "white fellow sit down all
           about; black fellow Murry Miserable"
    • Abstract: Casey, Maryrose
      In the eighteenth and nineteenth centuries, Aboriginal public and secret performances, under the general label of corroboree, were the main focus of descriptions of Indigenous Australians. In the early accounts of the settlement in Botany Bay in Sydney, these performances are mentioned constantly, but often only in passing and with recurring negative descriptions such as "terrible shouting," "wrought up to such a pitch of madness," and "a spectacle for pandemonium" (A Bushman 1841, 2; Mitchell Expedition 1839, 3). These descriptions on the whole do not differentiate between types of performances. The exception, and the main performances that are engaged with in detail, are ritualised performances that were part of traditional Indigenous judicial practices. These are often described in a degree of detail in both factual accounts and more fictive, literary texts (Collins 1802, 543; Bellingshausen [1831] 1945, 85-90; "A Scene in the Wild" 1836, 4). But in all sources there seems to have been little attempt to understand either Indigenous ceremony or public performances for entertainment in the first half of the nineteenth century. As William Westgarth stated in his Australia Felix (1848), "the exact meaning of their famous corrobboree [sic] or native dance, beyond mere exercise and pastime, has not yet been properly ascertained" (78).

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 11 - List of contributors
    • PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 10 - On Audiencing: The Work of the Spectator in Live Performance
    • Abstract: Ginters, Laura
      There are a large number of studies and researches that are being conducted for explaining the significance of audience and spectators in a live performance. The article discusses these findings and also explains the way in which the spectators and the performances affect each other.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 10 - Asking the Audience: Audience Research and the Experience of
    • Abstract: Reason, Matthew
      There are various methodological and philosophical points related to the researches that are conducted to judge and figure out the experiences and comments of the audience after a performance. The relation between talk and experience and the perception of these experiences as different symbolic things are discussed in the article.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 10 - Vital Contact: Creating Interpretive Communities in a Moment of
           Theatrical Reception
    • Abstract: Lilley, Heather
      The author talks about the concept of audience reception, where in the spectators in a theatre consider themselves to be a part of larger community, hence leading to changes in their consciousness. The various studies that have been conducted for the promotion of theatre as a social event are also discussed.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 10 - In Front of Our Eyes: Presence and the Cognitive Audience
    • Abstract: Ralley, Richard; Connolly, Roy
      The concept of presence and the way it impacts the different attributes of the theatre practitioners. The way the performers and the audience communicate non-verbally and the different properties of presence are all discussed.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 10 - Fifteen Theses on Transcendental Intersubjective Audience
    • Abstract: Grant, Stuart
      The author talks about the conclusions that can be drawn from the studies that have been conducted to explain the concept and horizon of transcendental intersubjective audience. The various theses discussed in here describe audience as an entity that come before performance and is also very much required by the performance.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 10 - Feeling Them Ride: Corporeal Exchange in Cross-country Mountain
           Bike Racing
    • Abstract: Bicknell, Kath
      The article employs the case-study of a corporal exchange of a cross-country mountain bike racing event in Australia to elaborate the feedback process in a situation where in the spectators have already experienced the circumstances and feelings of the performers. The connection that is established between these two parties in such sporting events is discussed in detail.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 10 - Pleasure Out of Suffering: Negotiating Material Reality through
           Fetishism and Disavowal in 'Food Court'
    • Abstract: McGillivray, Glen
      The author studies the play, Food Court to explain the various ways in which the beliefs and disbeliefs of a person lead to him liking or disliking a particular scene or act. The pleasure and satisfaction derived by the audience from the suffering of someone else on stage are also being talked about.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 10 - Suspended Selves: Illusion and Transcendence in the Shows of
           Michel Lemieux and Victor Pilon
    • Abstract: Duguay, Sylvain
      The various shows of artists like Michel Lemieux and Victor Pilon are analyzed to explain the impact of various conventional shows and theatres on the way people understand about their true self. The connections that are formed between the audience and the text of the performance are also analyzed.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 10 - Decoding the Audience: A Theoretical Paradigm for the Analysis
           of the 'Real' Audience and Their Creation of Meaning
    • Abstract: Fearon, Fiona
      The author discusses the recently developed ethnography methodology, which is used for assessing the way audience watch a show and can also explain the decoding done by them. The various surveys that have been conducted for studying the same are also explained.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 10 - Uncertainties That Matter: Risk, Response-ability, Ethics and
           the Moment of Exchange in Live Art
    • Abstract: Hadley, Bree; Trace, Genevieve; Winter, Sarah
      The various risks, responses, ethics and the moments of exchange related to the different Live Art practices are discussed in the article. The various mechanisms of reception, as well as response and the various uncertainties observed in the discussed form of art are also explained.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 10 - Spectator on Duty: Teatro Del Lemming's 'Audiencing Trouble'
    • Abstract: Calchi Novati, Gabriella
      Teatro del Lemming, an Italian theatre company has one thing common in all its shows, i.e. audiencing trouble, the sensual and physical involvement of the spectators in the live performance. The various features that lead to the onset of this particular phenomenon are discussed in detail in the article.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 10 - Visitors Becoming Audiences: Negotiating Spectatorship in
           Museum Performance
    • Abstract: Jackson, Anthony
      The article discusses the various studies that have been conducted to explain the transitions that make a person from a visitor to an audience in a museum or historical settings. The changes that have taken place in the museum theatre and the engagement of audience in the same are also explained.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 10 - The Theatregoer's Epiphany: Becoming a Theatregoer
    • Abstract: Lewis, Jonathan
      The author presents a complete analysis of the various characteristics and the factors that help an individual in becoming a theatregoer. Magic, religion, familiarity and theatrical epiphany are shown to be some of the factors related to the audience of the theatre.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 10 - Rich Kids Can't Cry: Reflections on the Viewing Subject in Bali
    • Abstract: Hobart, Mark
      Various studies of the people in Bali are conducted to analyze the implications caused by the practices of the theatre and television audiences. The research that has been conducted and the conclusions drawn from the same are all discussed in detail.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 10 - The Great Resonator: What Historical Anthropology and An
           Ethnographic Approach to the Auditorium Tell Us About Audience
    • Abstract: Mervant-Roux, Marie-Madeleine; Casas, de Ghislain; McAuley, Gay
      The author has conducted different researches to verify the hypothesis, which compares the audience to a resonator or sound box. The application of the ethnographic and anthropological studies in analyzing the characteristics of the audience is also demonstrated.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 10 - Thirty Years of Reception Studies: Empirical, Methodological
           and Theoretical Advances
    • Abstract: Sauter, Willmar
      Numerous projects are analyzed to explain the various empirical, methodological and theoretical developments that have taken place in the area of reception studies.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 10 - List of Contributors
    • PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 10 - Back Issues
    • PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 9 - Recasting the Political in Performance: An Introduction to
           Recent Critical Trends
    • Abstract: Dwyer, Paul
      The recent changes and critical trends in relation to Performance Studies are discussed. Performance Studies is characterized by many of its leading proponents as an academic discipline without borders.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 9 - Do Theories and Events Deliver: A Tripartite Meditation on
           Social Dramaturgy
    • Abstract: Snow, Peter; Casey, Maryrose; Grant, Stuart
      The notions of social drama used for analysis of social events within the writings of Jeffrey Alexander as a tripartite response are discussed. The loose, metaphorical and insufficient use in other disciplines of terms and concepts from theatre and performance studies is highlighted.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 9 - Unsettled Country: Coming to Terms with the Past
    • Abstract: McAuley, Gay
      Two important events, each with a strong performance dimension - the apology of the Australian Prime Minister to the Stolen Generations in Parliament and the Welcome to Country chat for the opening of the 42nd Parliament are discussed. The three general observations from this analysis of the two performances are highlighted.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 9 - Refugee Advocacy and the Theatre of Inclusion
    • Abstract: Hazou, Rand
      The place that the theatre holds in relation to the wider social movement of refugee advocacy in Australia is discussed. The various kinds of interventions in support of asylum seekers emerging at the intersection between the theatre, the community, and refugee advocacy in Australia; and strategies of inclusion and participation that community theatre events involve are highlighted.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 9 - Staging Encounters with the Radically Absent(Ed): The Politics
           and Ethics of Performance in Some Recent Examples of UK-Based Art and
           Theatre about Forced Migration and Asylum
    • Abstract: Schaefer, Kerrie
      The ways in which some recent performance work in the UK has formed critical and creative responses to tragic events are discussed. The main purpose is to explore an alternative to a tragic response to a world, that is in itself tragic.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 9 - Playing Your Role: Identity and Community-based Performance in
           Contemporary Northern Ireland
    • Abstract: Jennings, Matt
      Notions of identity and community continue to remain fraught in Northern Ireland. Arts practitioners and organizations negotiate the potential fields of conflict between identity and community while struggling with the requirements of cultural policy.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 9 - Theatricalising Terrorism: Johann Kresnik's Ulrike Meinhof and
           the Red Army Faction
    • Abstract: Kolb, Alexandra
      The review and analysis of Johann Kresnik's 'Ulrike Meinhof' is discussed. The tertium comparation is between terrorism and the performative act, using the campaign of the Red Army Faction (RAF) and associated groups as a historical paradigm is analyzed.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 9 - Biopoligraphy
    • Abstract: Kershaw, Baz
      Two letters discussing 'Biopoligraphy'.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 9 - Protocols of Engagement: 'Community Cultural Development'
           Encounters an Urban Aboriginal Experience
    • Abstract: Dwyer, Paul; Syron, Liza-Mare
      The complex politics and protocols of cultural exchange in a community-based performance project are discussed. The key aspects and features of the ongoing Gathering Ground (GG) project are highlighted.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 9 - Creating Images and Telling Stories: Decolonising Performing
           Arts and Image-based Research in Aotearoa/New Zealand
    • Abstract: Halba, Hilary
      The theoretical arguments around the indigenous Kaupapa Maori academic research paradigm in Aotearoa/New Zealand are discussed. The reciprocal nourishment that lay in stories is also highlighted.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 9 - The People of Ritual: Odin Teatret's 'Festuge'
    • Abstract: Ledger, Adam J
      The key aspects and features of 'Festuge' or festival week organized by Odin Teatret in Holstebro, Denmark are discussed. The Festuge comprises of regular theatre performances, parades, music concerts, exhibitions, street theatre, discussion and even markets.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 9 - Fundacja Pogranicza: Performance and the Polish Borderlands
    • Abstract: Watson, Ian
      The key aims and objectives of the Fundacja Pogranicza, an organization of the Borderland Foundation are discussed. The organization has worked towards harnessing the arts as a medium that addresses issues of cultural, national, and ethnic difference.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 9 - List of Contributors
    • PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 8 - Photography and Live Performance: Introduction
    • Abstract: McAuley, Gay
      The relationship between photography and theatre dates back to the earliest days of the invention of photography in the mid-nineteenth century when actors went to photographers' studios and posed in costume and in character and began to discover the potential of these studio portraits for publicity and promotional purposes (Buszek 1999). Photographers seem to have been equally fascinated by actors, whose expressive faces and bodies, and ability to hold a pose, made them ideal subjects for the camera at that stage of its development.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 8 - Performance Art and Its Documentation: A Photo/Video Essay
    • Abstract: Marsh, Anne
      Jill Orr's 'She had a long golden hair' event is used as a case study to explore the performance art and its documentation. It is concluded that performance art should be documented so that it can be transported to other media.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 8 - Still Not Seen: The Hidden Archive of Performance
    • Abstract: McGillivray, Glen
      Performance art needs documentation like photographs or video recordings in order to keep it alive otherwise these arts will disappear as the time passes. If such arts are in hidden archive then the chance of losing those works is more.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 8 - A Duet between Performer and Photographer
    • Abstract: Lohr, Heidrun; McAuley, Gay
      The relationship between theatre photography and performance, and different techniques used in dance photography is discussed.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 8 - Oracular Practice, Crip Bodies and the Poetry of Collaboration
    • Abstract: Kuppers, Petra; Cox, Aimee Meredith; Ferris, Jim; Kafer, Alison; Marcus, Neil; Simonhjell, Nora; Steichmann, Lisa; Wilcox, Sadie
      Discussion of 'Tiresias', an Olimpias performance collaboration project.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 8 - Capturing Absence: Walking Performance and Photography
    • Abstract: Fischer, Ralph; George, Alys X
      Note presented examines the concepts of absence in three walking performances where photography plays an important role. For the analysis photography and footprints are used to compare the durability and presence.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 8 - Craving the Whole Essence: The Photograph as Document, Artwork
           and Framework in the Theatre of Vs. E. Meyerhold
    • Abstract: Simpson, Amy
      Report presented discusses the photographs of the theatre of Vsevolod Meyerhold as a document and artwork. Report aims at finding the hierarchical relationship between theatre and photo-documentation.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 8 - Image and Performance
    • Abstract: Yang, William; Lo, Jacqueline
      William Yang, an Asian Australian theatre artist explored the ethnicity and gender issues in his works. His work highlights the emotion, recognition and alienation both in respect to host land Australia and home land China.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 8 - Theatre as Post-operative Follow-up: 'The Bougainville Photoplay
    • Abstract: Dwyer, Paul
      The Bougainville Photoplay Project aims at the process of post-violence reconciliation in Bougainville. However the effort is not easily welcomed by the Bougainville people as they are not easily reconciled between Australia and Bougainville.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 8 - Theatrical Photography, Photographic Theatre and the Still: The
           Photography of Sophie Moscoso at the Theatre du Soleil
    • Abstract: Anderson, Joel
      Photography impacts upon how theatre performance is seen and done, just as performance impacts upon photography. The significance of video being employed at the Theatre du Soliel just as dynamic ways of viewing video have changed the viewer's relationship to the still is highlighted.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 8 - Pathos, Pathology and the Still-mobile Image: A Warburgian
           Reading of Held by Garry Stewart and Lois Greenfield
    • Abstract: Marshall, Jonathan
      At the dawn of the twentieth century, European society seemed to be hurtling into the future. Etienne-Jules Marey was producing his influential stop-motion images and composite photographs of moving bodies at his Physiological Laboratory from 1880 to 1903 (figs 1-2), while the Lumiere brothers screened the first movie in 1895. At the same time, however, figures such as Marey's colleague Paul Richer (lecturer in physiology and aesthetics at the Paris School of Fine Arts) and their German peer Aby Warburg sought to give the image back to the stability of history and the past, to ground this newly activated sense of embodied mobility within a hierarchical narrative of Classical art and aesthetics. Richer's extension of the canon of Classicism to encompass those recently described "incessant changes" in the plastic shape and position of the limbs and their muscles constituted an attempt to produce a Modern rationalist model of beaux-arts academicism (1897a; Marshall 2007 2008b). Warburg's formulation of the opposition between the Dionysian mobility of Classical art and its Apollonian formalism, by contrast, represented an avant-garde response to the challenges of Modernity and movement (Warburg 1999).

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 8 - Performing Laughter: Duchenne's Smile in the Light of
           Photographic Practice
    • Abstract: Leister, Wiebke
      The triangular relationship between performer, spectator and stage as mirrored in the association of model, viewer and image in photographic portraiture is discussed. Photographing laughter 'as it flies' means that the mouth is neither half open nor half closed, but is caught in mid-air, neither attached to the future nor the past.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 7 - Local Acts: Site-specific Performancxe Practice
    • Abstract: McAuley, Gay
      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 7 - It Came Apart in My Hands: Reflections on 'Polis' by
    • Abstract: Pearson, Mike
      The salient features and the significance of the multi-site performance 'Polis' created by Mike Person and Mike Brookes as Pearson/Brookes are described. The manner in which the work, staged in Cardiff in different places simultaneously and for several audiences, was used to bring out the recorded memories of the performances and audience responses in a comprehensive manner later is analysed.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 7 - 'It's a Poor Sort of Memory That Only Works Backwards'
           Performance, Site and Remembering
    • Abstract: Wilkie, Fiona
      The significance of two performances which occurred in spaces other than conventional theatres, namely, the 'York Millennium Mystery Plays' and an outdoor walking performance 'Bubbling Tom' is analysed. The manner in which the performances combined memories of specific sites with current ongoing agendas and depicted them as narratives is discussed.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 7 - Kellerberrin on Our Minds
    • Abstract: Minchinton, Mark; de Clario, Domenico
      Domenico de Clario speaks to his associate Mark Minchinton about the significance of Kellerberrin town to him and the implications of his walk to the place as a performance. He also speaks about his experiences en route and the manner in which their walks keep the memory of Kellerberrin in their minds always.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 7 - Carnivalising Sovereignty: Containing Indigenous Protest Within
           the 'White' Australian Nation
    • Abstract: Casey, Maryrose
      The subtly different ways in which Indigenous protests are contained within the 'White' Australian nation are highlighted, focussing on such events during the opening of the old Parliament House in Canberra in 1927 and Camp Sovereignty in Melbourne in 2006. The manner in which the protests were framed in carnivalesque formats in media recordings in a manner to affirm the position of white sovereignty is discussed.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 7 - Welcome to Country: Performing Rights and the Pedagogy of Place
    • Abstract: Dempster, Elizabeth
      The significance of the customary 'Welcome to Country' ceremony offered by an Indigenous elder before any major cultural and civic event in Australia at present is discussed. It is suggested that although the ceremony is only a symbolic acknowledgement of the traditional owners of the land, it serves to continue the memory of the interrelation between Indigenous and white Australians by using the pedagogy of place or land.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
  • Issue 7 - Nature Moves Centre Stage: Eco-centrism in Community Theatre
    • Abstract: Brown, Paul; Crittenden, Xanthe-Rose
      The relevance of community theatre both as a tool for environmental activism and to gain further insights into human/nature relationships is discussed by focussing on a community theatre project 'Murray River Story'. The salient features and artistic merits of the work are analysed to highlight the way in which it re-positions humans within nature to bring nature to the centre stage in order to enhance relevant knowledge.

      PubDate: Thu, 2 Nov 2017 11:47:21 GMT
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