Volume 24 Issue 4
Issue editors: Andrew Quick & Richard Rushton
Publication date: 30 September 2019
What is Theatricality? Is it the essence of theatre, or is it that which distorts, exaggerates and thus undoes theatre? Can performance be both theatrical and anti-theatrical? Does anti-theatricality invoke a new kind of theatre? Or is an embrace of theatricality integral to processes of performance? The contributions in this issue ask these and other questions in relation to a wide range of performance examples and possibilities. These include articles on The Wooster Group, Jan Fabre, Marina Abramović, Robert Wilson, and Goat Island, as well as reflections on theatricality and skill, sound, grief and violence, and on the politics of theatricality, theatricality and disability and immersive theatricality.
Volume 24 Issue 5
Staging the Wreckage
Issue editors: Gianna Bouchard & Patrick Duggan
Publication date: 31 October 2019
From the destruction of the Twin Towers in 2001, to the devastation of the Indian Ocean tsunami in 2004, to the images of the current refugee crisis and recent terrorist atrocities, the early twenty-first century has witnessed increased media interest in showing all kinds of wreckage to a global audience. While these particular examples are captured in images of the debris and detritus of a catastrophe, there has also been a significant turn, particularly in the UK, to the descriptions and linguistic performances of emotional and psychological wreckage, from the victims of various high-profile sexual grooming and abuse cases, to survivors and witnesses of other events. Wreckage is also increasingly made available through the rise of television dramas that deal with violence and representations of its aftermath.
Staging the Wreckage considers how theatre can call on ‘stagings of wreckage’ to show the labour of performance, the inevitable failure of representation and the disasters immanent in human relations. Beyond explorations of theatrical wrecks and wreckage, this issue brings together international scholars and artists who explore the performativity of wreckage, its sites, politics and ‘practices’, in essays, provocations and artists pages.
Volume 24 Issue 6
Issue editors: Mischa Twitchin & Carl Lavery
Publication date: 30 November 2019
As the concept of ‘performance’ crosses over between the mechanistic and the creative, between serving ‘time and motion’ studies and their suspension in ‘duration’, between the ‘frictionless’ and its interruption, such distinctions themselves seem to delineate fields of research. But it is precisely these distinctions that prove to be in question when invoking the concept of ‘animism’. Although defined historically in terms of these familiar oppositions, what has come to be called the ‘new animism’ concerns what cannot be accommodated by them—inviting a sense of the ‘re-enchantment’ of the world, even as a self-styled modernity appears intent on destroying it. Not the least of what performance research explores in the name of animism, then, are ‘alternatives’ to modes of globalized practice, affirming a pluralism of understanding relations in and to the world, which are not limited to those of human ‘actors’. Participating in the work of cosmopolitics, animism implies fundamental questions about the very ‘life’ of social relations—many varied examples of which are addressed in the essays of this issue of Performance Research.