Description
This special issue of Performance Research invites contributions that consider relationships between affirmation and performance. We think of affirmation as an act or a gesture, e.g., a round of applause or a standing ovation; an iteration or an appraisal, e.g., a vow or a review; and as an affect or a field of affects that supports and mobilizes certain behaviours, events and ways of being.
Editorial : On Affirmation
Catherine Silverstone, Fintan Walsh
pp. 1 – 3
The Infinitude of Thought in Precarious Form : Thomas Hirschhorn’s Gramsci Monument
Maurya Wickstrom
pp. 4 – 13
The Affirmation of ‘Life’ Beyond Governance : Performance art that resists citizenship under austerity
Sandra D’Urso
pp. 14 – 24
‘Do we have a show for you? Yes, we have got a show for you!’ : Sexual harassment, GETINTHEBACKOFTHEVAN and the (re)appraisal of postmodern irony
Sarah Gorman
pp. 25 – 34
Clerical Betrayal and Christian Affirmation
Joshua Edelman
pp. 35 – 43
Audience Affirmation and the Labour of Professional Wrestling
Broderick Chow, Eero Laine
pp. 44 – 53
Affirmation and Disidentification : The labour of performing ‘brand India’
Ameet Parameswaran
pp. 54 – 62
Affirmative Antinomies of Naturalist and Realist Theatre
Eve Katsouraki
pp. 63 – 73
‘A Sacred Affirmation’ : Immanent performativity and Gilles Deleuze’s Difference and Repetition
David Fancy
pp. 74 – 83
Mathematical Resonances in the Architecture of Goat Island’s The Lastmaker
Piotr Woycicki
pp. 84 – 93
Ruach : An interactive performance
Brian Lobel
pp. 94 – 97
Splat! : Death, mess, failure and ‘blue-balling’
The Famous, Lauren Barri Holstein
pp. 98 – 102
Yoko Ono’s Dreams : The power of positive wishing
Kevin Concannon
pp. 103 – 108
‘You’re funnier when you’re angry’ : Affirmation, responsibility and commitment in David Hoyle’s live performance practice
Daniel Oliver
pp. 109 – 115
The Minute Interventions of Stewart Lee : The affirmative conditions of possibility in comedy, repetition and affect
Scott Sharpe, J-D Dewsbury, Maria Hynes
pp. 116 – 125
Theft, Contestation and Affirmation in Contemporary Czech Theatre : Krepsko’s Ukradené ovace (The Stolen Ovation)
Becka McFadden
pp. 126 – 134
What Feminists Do When Things Get Ruff (review)
Kim Solga
pp. 135 – 137
Quietly Posthuman : Oriza Hirata’s robot-theatre (review)
Francesca Spedalieri
pp. 138 – 140
Notes on Contributors
pp. 141 – 142
