Volume 26 Issue 1
Issue editors: Geraint D’Arcy & Richard Gough
Publication date: 1 October 2021
‘On Hell’ is an opportunity to update the scenographic maps of performance technology. At one time, to think of stage technology was to consider the vertical axis of the stage: the open heavens above and the closed underworld of the stage hidden from an audience. In the contemporary theatre space, the diversification of theatrical forms through the twentieth century has witnessed the machinery of the unseen under stage area of the nineteenth-century western theatre vanish along with our sense of what it evokes.
This issue seeks to rediscover that technologized space as a place of historical and scenographic significance in the theatre and to address the relationship between the visible playing space of the contemporary stage with the technological, now that it is no longer hidden in the historical underworld of the theatre. It examines what is now invoked when those technologies emerge and become part of the action, and ponders if once summoned, can what is underneath a stage ever be banished?
Volume 26 Issue 2
Issue editors: Pil Hansen & Freya Vass
Publication date: 1 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