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.<\/p>\n
Editorial : On Affirmation
\nCatherine Silverstone, Fintan Walsh
\npp. 1 – 3<\/p>\n
The Infinitude of Thought in Precarious Form : Thomas Hirschhorn\u2019s Gramsci Monument
\nMaurya Wickstrom
\npp. 4 – 13<\/p>\n
The Affirmation of \u2018Life\u2019 Beyond Governance : Performance art that resists citizenship under austerity
\nSandra D’Urso
\npp. 14 – 24<\/p>\n
\u2018Do we have a show for you? Yes, we have got a show for you!\u2019 : Sexual harassment, GETINTHEBACKOFTHEVAN and the (re)appraisal of postmodern irony
\nSarah Gorman
\npp. 25 – 34<\/p>\n
Clerical Betrayal and Christian Affirmation
\nJoshua Edelman
\npp. 35 – 43<\/p>\n
Audience Affirmation and the Labour of Professional Wrestling
\nBroderick Chow, Eero Laine
\npp. 44 – 53<\/p>\n
Affirmation and Disidentification : The labour of performing \u2018brand India\u2019
\nAmeet Parameswaran
\npp. 54 – 62<\/p>\n
Affirmative Antinomies of Naturalist and Realist Theatre
\nEve Katsouraki
\npp. 63 – 73<\/p>\n
\u2018A Sacred Affirmation\u2019 : Immanent performativity and Gilles Deleuze\u2019s Difference and Repetition
\nDavid Fancy
\npp. 74 – 83<\/p>\n
Mathematical Resonances in the Architecture of Goat Island’s The Lastmaker
\nPiotr Woycicki
\npp. 84 – 93<\/p>\n
Ruach : An interactive performance
\nBrian Lobel
\npp. 94 – 97<\/p>\n
Splat! : Death, mess, failure and \u2018blue-balling\u2019
\nThe Famous, Lauren Barri Holstein
\npp. 98 – 102<\/p>\n
Yoko Ono\u2019s Dreams : The power of positive wishing
\nKevin Concannon
\npp. 103 – 108<\/p>\n
\u2018You\u2019re funnier when you\u2019re angry\u2019 : Affirmation, responsibility and commitment in David Hoyle\u2019s live performance practice
\nDaniel Oliver
\npp. 109 – 115<\/p>\n
The Minute Interventions of Stewart Lee : The affirmative conditions of possibility in comedy, repetition and affect
\nScott Sharpe, J-D Dewsbury, Maria Hynes
\npp. 116 – 125<\/p>\n
Theft, Contestation and Affirmation in Contemporary Czech Theatre : Krepsko\u2019s Ukraden\u00e9 ovace (The Stolen Ovation)
\nBecka McFadden
\npp. 126 – 134<\/p>\n
What Feminists Do When Things Get Ruff (review)
\nKim Solga
\npp. 135 – 137<\/p>\n
Quietly Posthuman : Oriza Hirata\u2019s robot-theatre (review)
\nFrancesca Spedalieri
\npp. 138 – 140<\/p>\n
Notes on Contributors
\npp. 141 – 142<\/p>\n\n\n