Volume 26 Issue 2
Issue editors: Pil Hansen & Freya Vass
Publication date: 10 November 2021
‘On Perception’ raises questions about the perceptual strategies and effects of performance and their implications. The authors are motivated by the potential of performance to affect artists’ and audiences’ perceptual range and to re-sensitize us to connections between environment, human (inter)action and creative thinking. Drawing on varied theories of perception and its embodiment, the included studies derive from the fields of virtual reality design, landscape design, audio walks, theatre, dance, music, performance art, and literature. Topics highlighted include the ethics of proprioceptive manipulation, auditory and embodied attunement, (dis)embodied perception, psychedelic perception, sensory resistance, perceptual deterritorialization, discursive perceptual framing and the perceptual generation of communal Indigenous or Black identities. These topics are examined as effects of performance praxis and spectatorship, dramaturgical strategies or performative theories. Together, they explore, move through and reach beyond bodily and discursive constraints of perception to produce relational connections and enable imagination.
Volume 26 Issue 3
Issue editors: Hetty Blades, Scott de Lahunta & Lucia Piquero
Publication date: 1 December 2021
This issue of Performance Research explores the idea of knowledge in relation to performing arts practices. Its concern, however, is not to simply revisit academic debates about practical knowledge but to offer new contexts and insights. From academic truth claims to claims of ownership, from epistemic objects to multiple epistemologies the topic of knowledge is everywhere. This issue aims to build on the foundations laid by previous work in the field, first by attending to the knowledge generated within the performing arts -- specifically the types of knowledge involved in creation, training, production, performance and spectatorship -- and second by inviting further critical interrogation of what the recognition of this knowledge achieves in the frame of evolving cultural and political contexts. The issue also calls into question the use of the term in itself, interrogating methods, analysis and languaging in order to offer various conceptualizations of knowledge and the (un)known
Volume 26 Issue 4
Issue editors: Jan Kühne & Freddie Rokem
Publication date: 20 December 2021
Suddenly, the topic of the research laboratory for theory and practice in performance that had been active daily for three months at the Israeli Institute for Advanced Studies in Jerusalem, became a global reality. In October 2019, a group of researchers and artists began investigating the notion of Interruptions expressed in artistic creativity and in works of art as well as through reflection and academic research in aesthetics, performance theory and poetics. And in January 2020, as we held the symposium summarizing the initial findings of this project, we did not yet know anything about the pandemic, which is still—now, a year and a half later—a central feature of our everyday realities. This issue of PR, with its thirty contributions by scholars and artists from the initial research laboratory (which focused on the work and thinking of Franz Kafka, Walter Benjamin and Bertolt Brecht) as well as the ‘newcomers’ from the local (Israeli) and international communities, considers the notion of Interruptions in/of performance in a broad range of historical, theoretical and political contexts.