How might we use the idea of techn\u0113 \u2013 as a practice of knowing by making manifest or bringing forth \u2013 to explore the practices and productivity of performance, theatre and dance, both now and historically? This issue of Performance Research explores performance as a practical means of making manifest such things as embodiment, creative process, the margins and flows between the human and non-human, the alienating striations of contemporary life, our practice of non-space, alterity, the elemental, noise and the aesthetic apparatus itself. It challenges the academy\u2019s disregard of the knowledge, creativity, even existence of those who are ascribed \u2018technical\u2019 or \u2018craft\u2019 roles in the divisions of theatre and performance labour. And it explores the enfolded situation of the performance apparatus, mediating between techne\u00af as human activity on one hand, and the human-crafted environment as both the object of techn\u0113 and as our means to practical knowledge on the other.<\/p>\n
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Pods, Tubes, Plants, Motor Oil and Other Survival Machines: A syncourse with Claudia Bucher
\nMeiling Cheng
\npp. 9 – 23
\nThe Revelation of Techn\u0113: An anatomical theatre
\nGianna Bouchard
\npp. 24 – 32
\nRevealing Practices’: Heidegger’s techne interpreted through performance in responsive systems
\nSusan Kozel
\npp. 33 – 44
\nMaking Space, Marking Time: Stationhouse Opera’s Mare’s Nest
\nRichard Malcolm
\npp. 45 – 57
\nThe Means Whereby: My body encountering choreography via Trisha Brown’s Locus
\nMegan V. Nicely
\npp. 58 – 69
\nTechn\u0113, Technology, Technician: The creativity of the craftsperson
\nNick Hunt, Susan Melrose
\npp. 70 – 82
\nA Handbook of Theatrical Devices [artist’s pages]
\nEwan Forster, Christopher Heighes
\npp. 83 – 96
\nThe Nameless and the Named: Techn\u0113 and technology in ancient Athenian performance
\nGraham Ley
\npp. 97 – 104
\nThe Theatre Soundscape and the End of Noise
\nRoss Brown
\npp. 105 – 119
\nElemental Spaces, Elemental Performances
\nMichael Levan
\npp. 120 – 128
\nProjection and Transaction: The spatial operation of scenography
\nJoslin McKinney
\npp. 129 – 137
\nA Dwelling in the Screen, At Least for a Little Time
\nJoanne ‘Bob’ Whalley, Lee Miller
\npp. 138 – 147
\nOblivion [artist’s pages]
\nDaniel Watt
\npp. 148 – 154
\nMaking Cruising Dwelling: Motion as shelter in the work of David Wojnarowicz
\nMelissa Jacques
\npp. 155 – 169
\nNotes on Contributors
\npp. 170 – 171<\/p>\n\n\n