Volume 24 Issue 3
On Ageing (& Beyond)
Issue editors: Richard Gough & Nanako Nakajima
Publication date: 31 August 2019
Age itself is a changing and performative variable. The twenty-first century is rejuvenating the biological and physical age, along with the social age, which is culturally bound. Bio-technology has developed to such an extent that it is now possible to create a new post-human who has control over birth and death as well as the process of ageing.
This issue explores creative ideas regarding ageing in the field of performing arts and at the level of discourse that considers ‘ageing’ as being performative. Through reflexive writing and artist pages this issue evidences performance work that embraces age and ageing (made by or with ‘senior’ artists) and speculates on the future of ageing bodies and ageing minds (wisdom, experience, frailty and forgetfulness) within creative endeavour and fragile ecologies: it illuminates alternative, private as well as global temporalities.
Volume 24 Issue 4
Issue editors: Andrew Quick & Richard Rushton
Publication date: 15 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: 30 September 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.