\n
On Reflection: An introduction\u00a0<\/strong>Richard Gough<\/p>\nFrom Weather to Climate: A\u00a0note\u00a0<\/strong>Carl Lavery<\/p>\n\u2018Performing, Writing\u2019: What\u2019s that comma up to?\u00a0<\/strong>John Hall<\/p>\nOn Children\u00a0<\/strong>Eirini Kartsaki<\/p>\nOn Leftovers\u00a0<\/strong>Una Bauer<\/p>\nOn Taste and Other Senses: Synaesthesia in Renaissance and Avant-garde performance\u00a0<\/strong>G\u00fcnter Berghaus<\/p>\nSeriously Drunk: Anders H\u00e4rm and Wendy Houstoun fall \u2018under the influence\u2019\u00a0<\/strong>Sarah Gorman<\/p>\nHow Long? How Far? A\u00a0brief meditation on the reach of a\u00a0name\u2019s performativity\u00a0<\/strong>Natasha Lushetich<\/p>\nWith the Maternal: Encountering performance through natality\u00a0<\/strong>Adele Senior<\/p>\nJanez Jan\u0161a\u00ae: Proximity as a\u00a0dramaturgical operation, in three parts\u00a0<\/strong>Konstantina Georgelou<\/p>\nTurning Animal, with 100 Claws\u00a0<\/strong>MoOM (aka the Museum of OMMMMM)<\/p>\nLibraries\u00a0<\/strong>Tracy C. Davis<\/p>\nRadical Education\u00a0<\/strong>Gary Anderson<\/p>\nTrans-performance\u2009: Artaud\u2019s 1937 journey to Ireland\u00a0<\/strong>Stephen Barber<\/p>\n\u2018Tamper (the play in it)\u2019\u00a0<\/strong>David Williams<\/p>\nOn Dialectics\u00a0<\/strong>Nicholas Ridout<\/p>\nMy Sea\u2009: On the waves of poetics and politics\u00a0<\/strong>Lena \u0160imi\u0107<\/p>\nIn Repose: 45\u00a0sleeping performance researchers\u00a0<\/strong>Sam Trubridge<\/p>\nA<\/em> Litany<\/em> on An\/notations<\/strong> Tara Aisha Willis<\/p>\nOn Repetition\u00a0<\/strong>Philip Auslander<\/p>\nOn Institutions\u00a0<\/strong>Bojana Kunst<\/p>\nRuined\u00a0<\/strong>Claire MacDonald<\/p>\nNever Been Human I\u00a0am Bird: On the shape of love\u00a0<\/strong>Nicolas Salazar Sutil<\/p>\nThe Triangle of Love: Aesthetics and engagement\u00a0<\/strong>Michael Hiltbrunner<\/p>\nNew Hazardscapes for Old: Rupture, resilience, resistance\u00a0<\/strong>Sharon Mazer<\/p>\ndisturbulendance\u2009: (the feel of things<\/em>)\u00a0<\/strong>Andr\u00e9 Lepecki<\/p>\nOn Medicine\u00a0<\/strong>K\u00e9lina Gotman<\/p>\nOn (Not Being with) Time (Queerly) in Post-War Britain\u00a0<\/strong>Ben Cranfield<\/p>\nOn [the limits of] Affirmation: Benjamin and Wittgenstein\u00a0<\/strong>Freddie Rokem<\/p>\nOn Abjection: Pain, blood and humour as a\u00a0feminist aesthetic strategy in the work of Boryana Rossa\u00a0<\/strong>Sandra D’Urso<\/p>\nGone to Zero\u00a0<\/strong>Wayne Hill<\/p>\nOn Writing & Digital Media\u00a0<\/strong>Debra Caplan<\/p>\nNothing like \u2026 falling \u2026\u00a0<\/strong>Susan Melrose<\/p>\nBecoming-atmosphere\u00a0<\/strong>Johannes Birringer<\/p>\nOn Those and Other Values: A\u00a0field trip to the Netherlands in times of trouble\u00a0<\/strong>Marijke Hoogenboom<\/p>\nFootnoting Fire\u00a0<\/strong>Alan Read<\/p>\nLabourscrape\u00a0<\/strong>Eddie Paterson<\/p>\nLiving in the Moment\u2009: Duration now and then\u00a0<\/strong>Andy Lavender<\/p>\nOn Duration\u00a0<\/strong>Julieanna Preston<\/p>\nSite-specific Ecological Loss\u00a0<\/strong>Peta Tait<\/p>\nForgetting Machines: From memory theatres to critical rap\u00a0<\/strong>Jon Mckenzie<\/p>\nFour Legs Good \u2026\u00a0<\/strong>Claire Cunningham, Dee Heddon<\/p>\nFailure, Fighting and Pedagogy\u00a0<\/strong>Sarah Kate Crews<\/p>\nOn Philosophy & Participation\u00a0<\/strong>Will Daddario<\/p>\nFor an Art of Participation\u2009: Common goods for the common\u00a0<\/strong>Branislav Jakovljevi\u0107<\/p>\nPerforming Publics\u00a0<\/strong>Gigi Argyropoulou<\/p>\nOn Clinical, Cultural and Theatrical Trauma\u00a0<\/strong>Caroline Wake<\/p>\nFieldworks\u00a0<\/strong>Joe Kelleher<\/p>\nOn Listening\u00a0<\/strong>Sodja Lotker<\/p>\nShu-mon, Get it\u00a0<\/strong>Hypatia Vourloumis<\/p>\nAddressing the Bones: Parades, photography and pedagogy\u00a0<\/strong>R\u00f3is\u00edn O’Gorman<\/p>\nThe Interval Between Bodies\u2009: Transplanted parts\u00a0<\/strong>Gianna Bouchard<\/p>\nOn Dramaturgy to Make Visible\u00a0<\/strong>Peter Eckersall<\/p>\nTurning Back to Training\u00a0<\/strong>Paul Allain, Stacie Lee Bennett<\/p>\nPerforming Literatures : Handling the text\u00a0<\/strong>Lynette Hunter, Ilya No\u00e9<\/p>\nOn Appearance\u2009: or what the Loch Ness Monster can teach us about contemporary performance\u00a0<\/strong>Philip Watkinson<\/p>\nA Sea of Stories\u2009: Archipelagic gatherings and RoRo journeys\u00a0<\/strong>Jazmin Badong Llana<\/p>\nAfter Performatics\u00a0<\/strong>Dariusz Kosinski<\/p>\nOn Choreography: Femmage, collage, assemblage\u00a0<\/strong>Rachel Fensham<\/p>\nOn Objects\u00a0<\/strong>Nick Kaye<\/p>\nOn Diaspora: In search of the holy\u00a0<\/strong>Rina Arya<\/p>\nRoad Rumour: Ground plans for the sky-blue city\u00a0<\/strong>Nicolas Whybrow<\/p>\nOn, Beckett\u00a0<\/strong>Sara Jane Bailes<\/p>\nDigital Resources\u00a0<\/strong>Talia Rodgers<\/p>\nTowards a\u00a0Fictionary of Theatre\u00a0<\/strong>Patrice Pavis<\/p>\nA Note on the Index in Contemporary Documentary Theatre\u00a0<\/strong>Solveig Gade<\/p>\nMade to Order: Japan\u00a0<\/strong>Cody Poulton<\/p>\nClues on Techn\u0113\u00a0<\/em><\/strong>Frank Camilleri<\/p>\nOn a\u00a0Shakespeare\u2013Verdi Trilogy: In photographs\u00a0<\/strong>Marin Bla\u017eevi\u0107<\/p>\nDynamics or Solidifications? Questions on form(ations) in contemporary dance\u00a0<\/strong>Susanne Foellmer<\/p>\nOn Theatre\u00a0<\/strong>Paul Rae<\/p>\nCivility, Empathy, Democracy and Memory: Exploring the ‘we’ in compromised times\u00a0<\/strong>Maria M. Delgado<\/p>\nGeneration\u00a0<\/strong>Rebecca Schneider<\/p>\nGeneration (Monday)\u00a0<\/strong>Matthew Goulish<\/p>\nWhat\u2019s Left on the Page\u00a0<\/strong>Theron Schmidt<\/p>\nPurkinje Cells: Synchronising timelines\u00a0<\/strong>Scott de Lahunta<\/p>\nMoving Bodies, Piano Body\u00a0<\/strong>Catherine Laws<\/p>\nSmell, Terrorism and Performance\u00a0<\/strong>Jim Drobnick<\/p>\nOn the Marriage between Bont\u00e9 Crompton and Gustavo Dur\u00e1n\u00a0<\/strong>Kevin Mount<\/p>\nStudying Voice in Order to Build a\u00a0Knowledge of Vocal Creation\u00a0<\/strong>Valentina Valentini<\/p>\nSweet Everlasting Voices\u00a0<\/strong>Joan Mills<\/p>\nOn Archives & Archiving\u00a0<\/strong>Peter Hulton<\/p>\nPerformance Archives\u2009:<\/strong> Recommendations by Performance Research<\/em> contributors<\/p>\nWhen Fluxus Came to West Wales\u2009: A\u00a0re-search in 12\u00a0actions \u2013 or, does a\u00a0network have a\u00a0margin?\u00a0<\/strong>Heike Roms<\/p>\nOn Translation\u00a0<\/strong>Goran Sergej Prista\u0161, BADCo.<\/p>\nOn Editing: Between the lines\u00a0<\/strong>Bonnie Marranca<\/p>\nNavigations\u00a0<\/strong>Cathy Turner<\/p>\nErotic Zones, Utopian Images\u00a0<\/strong>Paul Carter<\/p>\nOn Departures: Heiner M\u00fcller meets Elon Musk\u00a0<\/strong>Edward Scheer<\/p>\nOn Memory\u00a0<\/strong>Lisa Lewis<\/p>\nEphemera\u2009: Matter and memory\u00a0<\/strong>Dorota Sosnowska<\/p>\nOpening the Circle: Performance philosophy as an animal movement\u00a0<\/strong>Laura Cull \u00d3 Maoilearca<\/p>\nOn Openings\u00a0<\/strong>Emily Underwood-Lee<\/p>\nOn Silence and Autism\u00a0<\/strong>Shaun May<\/p>\nOn Line: A\u00a0response from a\u00a0transmedial, postdigital and post-internet future\u00a0<\/strong>Christina Papagiannouli<\/p>\nOn Cooking\u00a0<\/strong>Michael Peterson<\/p>\nCome as you are\u00a0<\/strong>Daniel Watt<\/p>\nThings Come Apart\u00a0<\/strong>Mike Pearson<\/p>\nOn America\u00a0<\/strong>Stephen Scott-Bottoms<\/p>\nOn Refuge\u00a0<\/strong>Helena Grehan<\/p>\nSaudades<\/em> : A\u00a0series of digressions on tourism, trauma, expertise and longing\u00a0<\/strong>Laurie Beth Clark<\/p>\nLetters from Europe\u00a0<\/strong>Mischa Twitchin<\/p>\nIllusiontext\u00a0<\/strong>Richard Allen, Goat Island<\/p>\nOn Ignoring<\/del> Risk\u00a0<\/strong>Patrick Duggan<\/p>\nThe Hunter’s Risk\u00a0<\/strong>Eugenio Barba<\/p>\nOn the Temper of Multiple Times: Remembrance of things in the moment of fury\u00a0<\/strong>Rustom Bharucha<\/p>\nInterpreting Dreams\u00a0<\/strong>Ric Allsopp<\/p>\nJournal Bound\u00a0<\/strong>Richard Gough<\/p>\n<\/div>\n