{"id":4355,"date":"2018-06-14T16:28:28","date_gmt":"2018-06-14T16:28:28","guid":{"rendered":"http:\/\/thecpr.org.uk\/?post_type=product&p=4355"},"modified":"2023-04-14T15:09:52","modified_gmt":"2023-04-14T15:09:52","slug":"22-8-on-leftovers","status":"publish","type":"product","link":"https:\/\/thecpr.org.uk\/product\/22-8-on-leftovers\/","title":{"rendered":"22.8 On Leftovers"},"content":{"rendered":"
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This issue asks about the consequences and specific modalities of leftovers in the performing and visual arts as well as in broader cultural and social contexts: What is the status of leftovers when, for example, being on display or being distributed otherwise after a performance? To what extent do they \u2018help\u2019 or rather \u2018betray\u2019 the attempts to write performing art\u2019s history? What kind of impact does the integration of debris as art\u2019s material have on the conception and reception of the artwork as such? And in what ways does a certain performative quality apply when it comes to the arrangement of leftovers other than working with \u2018unused\u2019 and \u2018fresh\u2019 material? What about the politicality of integrating leftovers into \u2018newly\u2019 done work? And how does the value of leftovers change when reintegrated into the consumer\u2019s society? Those reflections also imply more general questions about the cultural status and value of leftovers in the social and political realm.<\/p>\n

Before Left Over<\/strong>
\nSusanne Foellmer, Richard Gough<\/p>\n

The Critical Power of the Residual<\/strong>
\nBarbara Formis<\/p>\n

Broke Blokes\u2009: Performance scraps<\/strong>
\nMark Greenwood<\/p>\n

Recycling, Reinvesting and Revaluing\u2009: On immateriality in Sarah Vanhee\u2019s Oblivion<\/strong>
\nAnnelies Van Assche<\/p>\n

What to Do with the Leftovers of the Arts Industry?\u2009: Recycling artists and theatrical policies in twenty-first century Barcelona, Spain<\/strong>
\nRicard G\u00e1zquez<\/p>\n

Theatrical Bubble and Squeak\u2009: The stage direction as leftover in eighteenth-century theatre<\/strong>
\nMiriam Handley<\/p>\n

Black Space and Trauma Ruins\u2009: How do leftovers perform?<\/strong>
\nDorota Sosnowska<\/p>\n

What is Whose and Who is What?<\/strong>
\nLiam Francis<\/p>\n

Lest We Vanish Into Meaning\u2009: (Philip Guston and the politics of trash)<\/strong>
\nFrancisco Sousa Lobo<\/p>\n

The Performance of Leftovers<\/strong>
\nSarah Levinsky<\/p>\n

On the Political Nature of Leftovers<\/strong>
\nSusanne Foellmer<\/p>\n

Trophies Remain\u2009: The history of New Zealand resource extraction and the Meat Fence photo-project<\/strong>
\nJonathan W. Marshall<\/p>\n

Performing Leftovers\u2009: On the ecology of performance\u2019s remains<\/strong>
\nEdward Whittall<\/p>\n

Saved from the Scrapheap\u2009: Revealing the creative and ecological potential of societal leftovers in scenography<\/strong>
\nTanja Beer<\/p>\n

Agricultural Detritus and Artistic Practices\u2009: Reflections on animating heritage and reclaiming place-specific narratives<\/strong>
\nFfion Jones<\/p>\n

Ragpickers and Leftover Performances\u2009: Walter Benjamin\u2019s philosophy of the historical leftover<\/strong>
\nFrederik Le Roy<\/p>\n

To Be or Not to Be There\u2009: When the performer leaves the scene and makes room for the audience<\/strong>
\nAngela Viora<\/p>\n

The Values of Leftovers in Dance Research<\/strong>
\nHetty Blades, Rosemary E. Kostic Cisneros, Sarah Whatley<\/p>\n<\/div>\n\n\n