Volume 23 Issue 6
Issue editors: Laurie Beth Clark & Michael Peterson
Publication date: 15 December 2018
On Generosity offers critical examinations of the ethics and practices of generosity, as well as generosity’s inherent performativity. Without recourse to a naïve faith in its potential, but also without devolving into cynicism about its limits, this volume takes a fresh look at how generosity appears in performance and how generosity is performed. Contributors analyse practices and discourses of generosity in political and economic interventions, in everyday life, in social practice art and as represented in theatrical performances. Generosity is considered as a performative relation, and the volume includes enquiries into the generosity and generativity that may lie at the heart of performance itself. This is amplified in a special showcase section, ‘Cabinet of Generosities’, which proliferates examples of performance works that engage generosity as practice and as theme.
Volume 23 Issue 7
Issue editors: Carl Lavery, Marielle Pelissero, David Pinder
Publication date: 31 December 2018
‘On Drifting’ looks to return to and rethink the aesthetic and political implications of la dérive for theatre and performance studies and beyond. Originally posited as a technique by the Situationist International (SI) for overcoming the alienation imposed by the ‘society of the spectacle’, drifting today has a very different significance and application(s). In this issue, drifting is no longer simply equated with contemporary walking practices, although these are in no way ignored, especially in terms of gender, sexuality, immigration and able-bodiedness. Rather, it has been expanded to exist as an aesthetico-political category in its own right -- something, then, that is found in theatre, writing, reading, drawing, cinema and indeed language itself. Equally, drifting is no longer simply associated with humans -- now, it is configured as something non-human, an activity that animals, rocks and the earth itself are all engaged with permanently. In this expansion of the field, the ultimate aim behind the issue is to stimulate a new dialogue between theatre and performance studies and the SI, to see what happens when the drift is contextualized within the ‘control societies’ of the Anthropocene.
Volume 23 Issue 8
Issue editors: Stephen Barber & Richard Gough
Publication date: 31 January 2019
Disfiguration involves a distinctive process whereby the body in performance, or an existing artwork, may be subject to an intervention which intentionally overhauls, distorts or betrays it; disfiguration may ‘twist’ the original work, to use the term of the artist Richard Hawkins. The body may also inflict its own disfigurations, and display or project them in performance. This issue opens up ground for original explorations and interrogations of disfiguration as an idea, procedure or entity with an often-intimate and beguiling approach to performance. Disfiguration resonates with seminal bodies of performance work such as those of Antonin Artaud, Tatsumi Hijikata and Ko Murobushi, but also forms a vitally aberrant strand in contemporary performance, including its digital art dimensions. Research into disfiguration may explore the work of theorists such as Bataille, but also entails the formulation of new kinds of corporeal analysis. The essays and artists’ pages in this issue engage with preoccupations with disfiguration in multiple and often-contrary ways. In all of its manifestations, disfiguration marks a transmutation in the status of the body which performances envision, archive, excavate or sound.