{"id":576,"date":"2014-03-06T16:21:40","date_gmt":"2014-03-06T16:21:40","guid":{"rendered":"http:\/\/thecpr.org.uk\/?post_type=product&p=576"},"modified":"2016-10-31T10:04:23","modified_gmt":"2016-10-31T10:04:23","slug":"13-4-on-apperance","status":"publish","type":"product","link":"https:\/\/thecpr.org.uk\/product\/13-4-on-apperance\/","title":{"rendered":"13.4 On Appearance"},"content":{"rendered":"

Beginning from the conviction that appearance matters \u2013 and matters as the very \u2018stuff\u2019 and substance of the kind of things we call performance \u2013 this issue examines the materiality of appearance as a key component of theatrical and social events. Exploring the role appearance plays in a range of cultural forms \u2013 from body art to live TV, shamanic invocation to video installation, magic show to \u2018non-professional\u2019 performance \u2013 On Appearance charts the construction, circulation and contestation of some of the imagined possibilities, lived realities, political identifications, and performative opportunities opened up by thinking through the logic of appearance. As well as examining the correlation between modes of appearance and practices of disappearance, and investigating their inscription in the recuperative dynamics of power, On Appearance<\/em> explicates the ways in which appearance matters in affecting and positively producing the conditions, forms and relations structuring what Jacques Ranci\u00e8re calls \u2018the distribution of the sensible\u2019: the political organisation of sense-making activities within the intelligible framework of the visible.<\/p>\n

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Editorial: On Appearance
\nAdrian Kear
\npp. 1 – 3
\nSusan and Darren: The appearance of authenticity
\nGeraldine (Gerry) Harris
\npp. 4 – 15
\nIntensities of Appearance
\nAdrian Kear
\npp. 16 – 24
\nFiguring the Face
\nSimon Bayly
\npp. 25 – 37
\nReturning Appearance to Itself: Trisha Brown, Koosil-ja and the materiality of appearance
\nMusetta Durkee
\npp. 38 – 47
\nWanted [artists\u2019 pages]
\nKinkaleri
\npp. 48 – 55
\nHow to Act, How to Spectate (Laughing Matter)
\nJoe Kelleher
\npp. 56 – 63
\nBody Events and Implicated Gazes
\nJim Drobnick
\npp. 64 – 74
\nAppearance, Reality and Truth in Magic: A personal memoir
\naladin
\npp. 75 – 81
\nTheatre and the Technologies of Appearances: The spirit of apprehensions
\nAnthony Kubiak
\npp. 82 – 92
\nExtracts from the Notebook of Xavier Valery
\nCarl Lavery, Gerry Davies
\npp. 93 – 99
\nAmbivalent apparitions: the pop-psychic art of TV medium John Edward
\nBryoni Trezise
\npp. 100 – 110
\nAppearing to Play: A Memory Toy Theatre to Cut-Out and Collect [artists\u2019 page]
\nRichard Allen, Kasia Coleman
\npp. 111 – 114
\nGirls Interrupted: Gendered spectres. Atlantic drag
\nKathleen M. Gough
\npp. 115 – 126
\nThe Picturesque World Stage
\nGlen Mcgillivray
\npp. 127 – 139
\nSweating Blood: Intangible heritage and reclaimed labour in Caribbean New Orleans
\nJoseph Roach
\npp. 140 – 148
\nNotes on Contributors
\npp. 149 – 150<\/p>\n\n\n