How does place affect performance praxis? How are geographical, cultural and artistic identities created and sustained with\/in different places? How have colonial pasts, and the ways they mark and are mapped in the present, affected the performances produced there \u2013 not only in thematic ways, but in the making processes themselves? In Australia, for example, performance owes much to the colonial past and present: to a psychology of edges, of enforced comings and goings; of \u2018empty spaces\u2019 at the heart (out-back), sites for projected imaginaries and dis\/appearances; and to a history of repression and genocide. How are such aspects expressed in performance practices?<\/p>\n
Preface
\nRic Allsopp
\npp. v<\/p>\n
Frontwords
\nDavid Williams
\npp. v – viii<\/p>\n
Prepared Pages: Smallness and Infinity
\nZsuzsanna Soboslay Moore
\npp. 1 – 9<\/p>\n
Memorials Without Facts
\nClive van den Berg
\npp. 10 – 14<\/p>\n
Prepared Pages: Deixis (‘absence of what qualifies the surface?)
\nBrigid McLeer
\npp. 15 – 18<\/p>\n
The Angel’s Hideout: Between dance and theatre
\nEnrique Pardo
\npp. 19 – 26<\/p>\n
Little Tyrannies, Bigger Lies: A letter from the other side
\nBarry Laing
\npp. 27 – 31<\/p>\n
Dance Travels
\nKaren Pearlman
\npp. 32 – 34<\/p>\n
My Balls\/Your Chin
\nMike Pearson
\npp. 35 – 41<\/p>\n
Re-Languaging the Body: Phenomenological description and the dance image
\nNigel Stewart
\npp. 42 – 53<\/p>\n
The Voice in the Garden Shed
\nAleks Danko
\npp. 54 – 58<\/p>\n
In the Midst of Many: The butcher, his lover, her husband and the hit man
\nLinda Marie Walker
\npp. 59 – 66<\/p>\n
Punto di Fuga: An afterword
\nPeter Stafford
\npp. 67 – 74<\/p>\n
Landscape of the Psyche: The dream theatre of Jenny Kemp
\nMark Minchinton, Jenny Kemp
\npp. 75 – 87<\/p>\n
Abstraction Has Many Faces: The ballet\/modern wars of Lincoln Kirstein and John Martin
\nMark Frank
\npp. 88 – 101<\/p>\n
I Never Go Anywhere I Can’t Drive Myself
\nLeslie Hill, Helen Paris
\npp. 102 – 108<\/p>\n
Backwords: 1,293 steps
\nMark Minchinton
\npp. 109 – 111<\/p>\n
Reviews: The Spectator as Performer
\nNicholas Till
\npp. 112 – 117<\/p>\n
Reviews: The Informe Body
\nTracey Warr
\npp. 118 – 121<\/p>\n
Archive Reviews
\nRic Allsopp, Linda Cassens Stoian
\npp. 124 – 126<\/p>\n
Notes on Contributors
\npp. 127 – 128<\/p>\n\n\n