{"id":4613,"date":"2019-02-22T18:10:42","date_gmt":"2019-02-22T18:10:42","guid":{"rendered":"https:\/\/thecpr.org.uk\/?post_type=product&p=4613"},"modified":"2019-02-22T18:14:43","modified_gmt":"2019-02-22T18:14:43","slug":"23-7-on-drifting","status":"publish","type":"product","link":"https:\/\/thecpr.org.uk\/product\/23-7-on-drifting\/","title":{"rendered":"23.7 On Drifting"},"content":{"rendered":"

\u2018On Drifting\u2019 looks to return to and rethink the aesthetic and political implications of\u00a0la d\u00e9rive<\/em>\u00a0for theatre and performance studies and beyond. Originally posited as a technique by the Situationist International (SI) for overcoming the alienation imposed by the \u2018society of the spectacle\u2019, drifting today has a very different significance and application(s). In this issue, drifting is no longer simply equated with contemporary walking practices, although these are in no way ignored, especially in terms of gender, sexuality, immigration and able-bodiedness. Rather, it has been expanded to exist as an aesthetico-political category in its own right — something, then, that is found in theatre, writing, reading, drawing, cinema and indeed language itself. Equally, drifting is no longer simply associated with humans — now, it is configured as something non-human, an activity that animals, rocks and the earth itself are all engaged with permanently. In this expansion of the field, the ultimate aim behind the issue is to stimulate a new dialogue between theatre and performance studies and the SI, to see what happens when the drift is contextualized within the \u2018control societies\u2019 of the Anthropocene.<\/p>\n

Read the Editorial and Abstracts for the articles below\u00a0here.<\/strong><\/a><\/em><\/p>\n

Rethinking the D\u00e9rive\u2009: Drifting and theatricality in theatre and performance studies<\/strong>
\nCarl Lavery<\/p>\n

Drift Map World<\/strong>
\nJulia-Kristina Bauer<\/p>\n

Transforming Cities\u2009: On the passage of Situationist d\u00e9rive<\/strong>
\nDavid Pinder<\/p>\n

Road Drift<\/strong>
\nNicolas Whybrow<\/p>\n

Drawing, Adrift\u2009: Bengaluru \u2013 Mumbai \u2013 St Ives<\/strong>
\nCathy Turner<\/p>\n

Where to build walls that protect us<\/strong>
\nStephen Hodge<\/p>\n

Walking Library for a Wild City<\/strong>
\nDeirdre (Dee) Heddon, Misha Myers<\/p>\n

Radiant Futures<\/strong>
\nLaura Grace Ford<\/p>\n

New York Drifters\u2009: Tehching Hsieh and David Wojnarowicz<\/strong>
\nJack Parlett<\/p>\n

Gender Drift\u2009: Testo Junkie, queer performativity and molecular becoming<\/strong>
\nStephen Greer<\/p>\n

To Drift, to Wave, to Waive<\/strong>
\nMarielle Pelissero<\/p>\n

Drifting and Cruising<\/strong>
\nGlyn Davis<\/p>\n

Drifting with Direction\u2009: Going astray in Jean Genet<\/strong>
\nJoanne Brueton<\/p>\n

Queer Spiritual Drifting\u2009: Not at home in The Beguinage<\/strong>
\nPetra Kuppers<\/p>\n

Drifting across the Border\u2009: On the radical potential of undocumented im\/migrant activism in the US<\/strong>
\nAna Milena Ribero<\/p>\n

Invitation to Drift<\/strong>
\nAmy Sharrocks<\/p>\n

Indexing the Drift<\/strong>
\nBob Hardy<\/p>\n

From Street to Screen\u2009: Debord\u2019s drifting cinema<\/strong>
\nDavid Archibald, Carl Lavery<\/p>\n

Louphole\u2009: Drifting with wolves<\/strong>
\nSimon Whitehead<\/p>\n

Field Guides<\/strong>
\nMike Pearson<\/p>\n

Erratic Drift\u2009: notes towards human-geologicaldrifting<\/strong>
\nMinty Donald, Nick Millar<\/p>\n

The Perturbations of Drift in a Stratified World<\/strong>
\nDeborah Dixon<\/p>\n

Drift as a Planetary Phenomenon<\/strong>
\nBronislaw Szerszynski<\/p>\n\n\n