Description
Contemporary thought in and through performance has sometimes figured the theatre as its discarded other, a past which it has happily outgrown, or a parent it has effectively disowned. What might contemporary performance owe to the theatre? Is there a thinking peculiar to the theatre – a thinking perhaps enmeshed in problems of representation – that offers something of value to theorists and practitioners today? Is there anything lying around in the field opened up by the practices and study of performance that might be seen or understood differently if thought through theatre? On Theatre aims to explore all that might be considered productive in the encounter between the institutions and practices of theatre and the discourses and challenges of performance.
On Form/Yet to Come
Ric Allsopp
pp. 1 – 4
The Landsdown Club, London [This photograph and those titled below are from the series ‘Empty Stages’]
Hugo Glendinning, Tim Etchells
pp. 2 – 2
The Macbeth, London
Hugo Glendinning, Tim Etchells
pp. 3 – 3
Steam Radio: On theatre’s thin air
Steven Connor
pp. 4 – 17
It Happens This Time Only
Kinkaleri
pp. 18 – 24
The Polish Club, Sheffield
Hugo Glendinning, Tim Etchells
pp. 25 – 25
Troublesome Amateurs: Theatre, ethics and the labour of mimesis
Adrian Kear
pp. 26 – 46
The King’s Head Theatre, London
Hugo Glendinning, Tim Etchells
pp. 47 – 47
Absorption and Focalization: Performance and its double
Maaike Bleeker
pp. 48 – 60
Eccleshall Non Political Club, Sheffield
Hugo Glendinning, Tim Etchells
pp. 61 – 61
Theatrum Mundi
Daniel Watt
pp. 62 – 66
The Conway Hall, London
Hugo Glendinning, Tim Etchells
pp. 67 – 67
Translating Bodies
Mick Wallis
pp. 68 – 80
Bloody Mess, Munich, Germany
Hugo Glendinning, Tim Etchells
pp. 81 – 81
Chronicles of the Indeterminate: Ordering chaos in the retrospectives of Forced Entertainment
Sarah Gorman
pp. 82 – 94
Stan’s Café [artist’s pages]
pp. 95 – 98
The People’s Palace, Queen Mary, University of London
Hugo Glendinning, Tim Etchells
pp. 99 – 99
Once More With Feeling
Martin Welton
pp. 100 – 112
The Woodseats Working Men’s Club, Sheffield
Hugo Glendinning, Tim Etchells
pp. 113 – 113
Acting on the Media: The actor’s modes of being on stage in an age of technological mediation
Anja Klöck
pp. 114 – 126
Toynbee Hall, London
Hugo Glendinning, Tim Etchells
pp. 127 – 127
Finishing Stanislavski…: (An artificially intelligent autonomous agent prepares)
Nancy Reilly-McVittie, Catherine Liu
pp. 128 – 132
Notes on Contributors
pp. 133 – 134
