Age itself is a changing and performative variable. The twenty-first century is rejuvenating the biological and physical age, along with the social age, which is culturally bound. Bio-technology has developed to such an extent that it is now possible to create a new post-human who has control over birth and death as well as the process of ageing.<\/p>\n
This issue explores creative ideas regarding ageing in the field of performing arts and at the level of discourse that considers \u2018ageing\u2019 as being performative. Through reflexive writing and artist pages this issue evidences performance work that embraces age and ageing (made by or with \u2018senior\u2019 artists) and speculates on the future of ageing bodies and ageing minds (wisdom, experience, frailty and forgetfulness) within creative endeavour and fragile ecologies: it illuminates alternative, private as well as global temporalities.<\/p>\n
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On Ageing (& Beyond)<\/strong> Going Transchron\u2009: From the sublime of age to juvenescence<\/strong> Nanako Nakajima in Conversation with Yvonne Rainer<\/strong> Physical and Mental Demands Experienced by Ageing Dancers\u2009: Strategies and values<\/strong> Performing Archeology\u2009: Meredith Monk\u2019s Education of the Girlchild Revisited and Memory\u2019s Storehouse, a solo by Lenora Champagne<\/strong> They Are All at Least Seventy\u2009: An exploration of female resistance to the decline narrative in theatre and live art<\/strong> The Dancer from the Dance\u2009: Ontologies of the body in Eszter Salamon\u2019s and Christophe Wavelet\u2019s Monuments 0.1 and 0.2<\/strong> This is (Not) the Ageing Body in Dance\u2009: Tino Sehgal\u2019s Ann Lee and the robotisation of the ageing body in Japan<\/strong> Embodying Senescence\u2009: Performing agedness in the space of virtuality<\/strong> Shaming Age\u2009: The unspoken truth of dance in Egypt<\/strong> \u2018Do You Think Combat Pilots Have Haemorrhoids?\u2019\u2009: Challenging masculine heroism through ageing feminine corporeality<\/strong> Detonating Desire\u2009: Mining the unexplored potential of ageing in Split Britches\u2019 Unexploded Ordnances (UXO)<\/strong> This Was The End\u2009: The pseudoscopic effect<\/strong> BED<\/strong> Moving Memory Dance Theatre Company\u2009: Gestures of Defiance<\/strong> Somewhere between Remembering and Forgetting\u2009: Working across generations on The Middle<\/strong> Riots, Cherry Blossoms and Wheelchairs\u2009: The performance politics of Saitama Gold Theater<\/strong> Judith Malina\u2019s Voracious Body, Mind and Spirit\u2009: Two years of raging against decline in the Actors Home<\/strong> Ageing, Temporality and Performance\u2009: Joan Rivers\u2019 body of work<\/strong>
\nRichard Gough, Nanako Nakajima<\/p>\n
\nElinor Fuchs<\/p>\n
\nNanako Nakajima<\/p>\n
\nPil Hansen, Sarah J. Kenny<\/p>\n
\nLenora Champagne<\/p>\n
\nBeth Watton<\/p>\n
\nLily Kelting<\/p>\n
\nNanako Nakajima<\/p>\n
\nMarcus Cheng Chye Tan<\/p>\n
\nNora Amin<\/p>\n
\nIdit Suslik<\/p>\n
\nBenjamin Gillespie<\/p>\n
\nMallory Catlett<\/p>\n
\nDavid Slater<\/p>\n
\nJayne Thompson<\/p>\n
\nMichael Pinchbeck, Michael Mangan<\/p>\n
\nRosalind Fielding<\/p>\n
\nCindy Rosenthal<\/p>\n
\nRoberta Mock<\/p>\n\n\n