This issue on contemporary writing and its performance, on performance and its writings, and on the various environments and contexts in which such work takes place, imagines how a text can be conceptualised, written, presented and figured with equal or more contingency and responsiveness to temporal and corporeal happenings, and vice versa. \u2018On Writing & Performance\u2019 seeks to extend current and historical dialogues on the shifting relationship between textual and performance practices and considers its theme from the perspectives of a diverse sweep of live, sited, scored and voice work, and critical texts in the fields of performance and writing.<\/p>\n
Editorial\u2009: On writing & performance<\/strong> Tracing the Essay in Contemporary Performing Arts<\/strong> Performance as Text. Text as Performance\u2009: Love Like Salt, a collaboration between a writer and an artist<\/strong> four castings <\/strong>[artist\u2019s pages] Excerpts from the Library of Babel\u2009: A meditation on writing, electricity and ghosts<\/strong> Talking Text and Writing Extemporaneity\u2009: Aligning David Antin\u2019s talk performance and editorial practices<\/strong> How We Talk About The Work Is The Work\u2009: Performing critical writing<\/strong> Performing Academia in Public Space in Turkey<\/strong> Colluding with Darkness<\/strong> Crypt-Poesis\u2009: Writing as performance archaeology<\/strong> In Praise of Doubt\u2009: Bringing sound studies to performance writing<\/strong> Blast Theory\u2019s Karen\u2009: Exploring the ontology of technotexts<\/strong> Disrupting the Market in Echoes\u2009: Voice, body and technology in poetry and performance by Hannah Weiner and Holly Pester<\/strong> The Feminist Possibility of Reader-as-Performer\u2009: in Caroline Bergvall\u2019s Goan Atom (1. Doll)<\/strong> Notes on Caring Labours: Re-collecting performances of noticing in taking note(s)_Performing care<\/strong> [Artist\u2019s pages] Rewriting Participation\u2009: Takuya Murakawa\u2019s Everett Ghost Lines<\/strong> Astral Nomads\u2009: The way to the future<\/strong> Towards Song\u2009: Re-shaping spoken lyric<\/strong> Phantom Scripts\u2009: The censor\u2019s archive and the phantom scripts of improvisation<\/strong> WRITING upon DIRTY EDGES and CLEAN LINES<\/strong> [artist\u2019s pages] Autobiography\u2009: me, myself and you<\/strong> Thinking Circularly around Performance S\/Objects<\/strong> Arts Archives\u2009: Introduction to \u2018A Digital Essay On Performance\u2019<\/strong>
\nRic Allsopp, Julieanna Preston<\/p>\n
\nJasper Delbecke<\/p>\n
\nJess Richards<\/p>\n
\nJulieanna Preston<\/p>\n
\nTed Hiebert<\/p>\n
\nIra S. Murfin<\/p>\n
\nTheron Schmidt<\/p>\n
\n\u00d6zg\u00fcl Akinci<\/p>\n
\nTru Paraha<\/p>\n
\nSophie Sleigh-Johnson<\/p>\n
\nLynley Edmeades<\/p>\n
\nSeda Ilter<\/p>\n
\nMark Leahy<\/p>\n
\nSydney Tran<\/p>\n
\nJen Archer-Martin<\/p>\n
\nKai Van Eikels<\/p>\n
\nYuliya Sorokina, Anar Eshmuratova, Laura Mussabekova<\/p>\n
\nJohn Hall, David Prior<\/p>\n
\nJames McLaughlin<\/p>\n
\nLisa Munnelly<\/p>\n
\nAmaara Raheem<\/p>\n
\nDavid Hall<\/p>\n
\nPeter Hulton<\/p>\n\n\n