Description
How does place affect performance praxis? How are geographical, cultural and artistic identities created and sustained with/in different places? How have colonial pasts, and the ways they mark and are mapped in the present, affected the performances produced there – not only in thematic ways, but in the making processes themselves? In Australia, for example, performance owes much to the colonial past and present: to a psychology of edges, of enforced comings and goings; of ‘empty spaces’ at the heart (out-back), sites for projected imaginaries and dis/appearances; and to a history of repression and genocide. How are such aspects expressed in performance practices?
Preface
Ric Allsopp
pp. v
Frontwords
David Williams
pp. v – viii
Prepared Pages: Smallness and Infinity
Zsuzsanna Soboslay Moore
pp. 1 – 9
Memorials Without Facts
Clive van den Berg
pp. 10 – 14
Prepared Pages: Deixis (‘absence of what qualifies the surface?)
Brigid McLeer
pp. 15 – 18
The Angel’s Hideout: Between dance and theatre
Enrique Pardo
pp. 19 – 26
Little Tyrannies, Bigger Lies: A letter from the other side
Barry Laing
pp. 27 – 31
Dance Travels
Karen Pearlman
pp. 32 – 34
My Balls/Your Chin
Mike Pearson
pp. 35 – 41
Re-Languaging the Body: Phenomenological description and the dance image
Nigel Stewart
pp. 42 – 53
The Voice in the Garden Shed
Aleks Danko
pp. 54 – 58
In the Midst of Many: The butcher, his lover, her husband and the hit man
Linda Marie Walker
pp. 59 – 66
Punto di Fuga: An afterword
Peter Stafford
pp. 67 – 74
Landscape of the Psyche: The dream theatre of Jenny Kemp
Mark Minchinton, Jenny Kemp
pp. 75 – 87
Abstraction Has Many Faces: The ballet/modern wars of Lincoln Kirstein and John Martin
Mark Frank
pp. 88 – 101
I Never Go Anywhere I Can’t Drive Myself
Leslie Hill, Helen Paris
pp. 102 – 108
Backwords: 1,293 steps
Mark Minchinton
pp. 109 – 111
Reviews: The Spectator as Performer
Nicholas Till
pp. 112 – 117
Reviews: The Informe Body
Tracey Warr
pp. 118 – 121
Archive Reviews
Ric Allsopp, Linda Cassens Stoian
pp. 124 – 126
Notes on Contributors
pp. 127 – 128
