Description
In western culture, smell is the most undervalued of all the senses, as evidenced not least by the linguistic adoption of sensorial terms for commendation or compliment as opposed to the mainly derogatory examples that use smell – with the exception, perhaps, of the slightly ambivalent ‘fragrant’. The demotion of smell in western cultures in line with the advances of rationalism and sanitation, would appear to be concurrent with a similar ‘deodorization of theatre’ that occurs with Naturalism. Smell is enjoying a renaissance in both theatre and scientific research. The relationships between smell and performance are diverse, as are its historical precedents. On Smell investigates the olfactory in performance as an aesthetic or representational strategy, as a potential for new performance work, as well as in its performative aspects in daily life, and in discourses about smell, especially in regard to identity, commodification, psychology, neurology, medicine, therapy and environmentalism.
Editorial
Richard Gough, Judie Christie
pp. 1 – 2
Winter Day – in the month of February, in the year of 2003, somewhere near the Canada/USA border
Millie Chen
pp. 3 – 10
Smelling Voices: Cooking in the Theatre
Eleanor Margolies
pp. 11 – 22
What Remains [artist’s pages]
Sophia New
pp. 23 – 28
Trafficking in Air
Jim Drobnick
pp. 29 – 43
Nosing Around: A Singapore scent trail
Paul Rae, Low Kee Hong
pp. 44 – 54
From the Hideous to the Sublime: Olfactory processes, performance texts and sensory episteme
Zachar Laskewicz
pp. 55 – 65
On the Scent [artist’s pages]
Leslie Hill, Helen Paris
pp. 66 – 72
Writing the Olfactory in the Live Performance Review
Matthew Reason
pp. 73 – 84
Sniffable Media
Scott deLahunta
pp. 85 – 86
Smellbytes: The smells of my imagination
Jenny Marketou
pp. 87 – 89
Living Flacons: Fragrant performance – performing fragrance by women in Sanaa (Yemen)
Dinah Jung
pp. 90 – 93
Finding Oneself through the Perfumes of Memory: An interview with Enrique Vargas
Richard Gough, Judie Christie
pp. 94 – 103
Olfactory Translations and Interpretations
Raewyn Turner
pp. 104 – 112
Becoming Carnival: Performing a postmodern identity
Ted Hiebert
pp. 113 – 125
Excerpts from ‘Brownout! Part 2’
Guillermo Gómez-Peña
pp. 126 – 135
Performance Review: Estuary Language
Robert Ayers
pp. 136 – 138
Book Review: Recuperating the Marginalized
Sarah Parry
pp. 138 – 140
Notes on Contributors
pp. 141 – 142
