Contemporary thought in and through performance has sometimes figured the theatre as its discarded other, a past which it has happily outgrown, or a parent it has effectively disowned. What might contemporary performance owe to the theatre? Is there a thinking peculiar to the theatre – a thinking perhaps enmeshed in problems of representation – that offers something of value to theorists and practitioners today? Is there anything lying around in the field opened up by the practices and study of performance that might be seen or understood differently if thought through theatre? On Theatre aims to explore all that might be considered productive in the encounter between the institutions and practices of theatre and the discourses and challenges of performance.<\/p>\n
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On Form\/Yet to Come
\nRic Allsopp
\npp. 1 – 4
\nThe Landsdown Club, London [This photograph and those titled below are from the series ‘Empty Stages’]
\nHugo Glendinning, Tim Etchells
\npp. 2 – 2
\nThe Macbeth, London
\nHugo Glendinning, Tim Etchells
\npp. 3 – 3
\nSteam Radio: On theatre’s thin air
\nSteven Connor
\npp. 4 – 17
\nIt Happens This Time Only
\nKinkaleri
\npp. 18 – 24
\nThe Polish Club, Sheffield
\nHugo Glendinning, Tim Etchells
\npp. 25 – 25
\nTroublesome Amateurs: Theatre, ethics and the labour of mimesis
\nAdrian Kear
\npp. 26 – 46
\nThe King’s Head Theatre, London
\nHugo Glendinning, Tim Etchells
\npp. 47 – 47
\nAbsorption and Focalization: Performance and its double
\nMaaike Bleeker
\npp. 48 – 60
\nEccleshall Non Political Club, Sheffield
\nHugo Glendinning, Tim Etchells
\npp. 61 – 61
\nTheatrum Mundi
\nDaniel Watt
\npp. 62 – 66
\nThe Conway Hall, London
\nHugo Glendinning, Tim Etchells
\npp. 67 – 67
\nTranslating Bodies
\nMick Wallis
\npp. 68 – 80
\nBloody Mess, Munich, Germany
\nHugo Glendinning, Tim Etchells
\npp. 81 – 81
\nChronicles of the Indeterminate: Ordering chaos in the retrospectives of Forced Entertainment
\nSarah Gorman
\npp. 82 – 94
\nStan’s Caf\u00e9 [artist’s pages]
\npp. 95 – 98
\nThe People’s Palace, Queen Mary, University of London
\nHugo Glendinning, Tim Etchells
\npp. 99 – 99
\nOnce More With Feeling
\nMartin Welton
\npp. 100 – 112
\nThe Woodseats Working Men’s Club, Sheffield
\nHugo Glendinning, Tim Etchells
\npp. 113 – 113
\nActing on the Media: The actor’s modes of being on stage in an age of technological mediation
\nAnja Kl\u00f6ck
\npp. 114 – 126
\nToynbee Hall, London
\nHugo Glendinning, Tim Etchells
\npp. 127 – 127
\nFinishing Stanislavski\u2026: (An artificially intelligent autonomous agent prepares)
\nNancy Reilly-McVittie, Catherine Liu
\npp. 128 – 132
\nNotes on Contributors
\npp. 133 – 134<\/p>\n\n\n