{"id":6523,"date":"2022-12-02T11:30:08","date_gmt":"2022-12-02T11:30:08","guid":{"rendered":"https:\/\/thecpr.org.uk\/?post_type=product&p=6523"},"modified":"2022-12-02T11:31:57","modified_gmt":"2022-12-02T11:31:57","slug":"26-8-under-cover","status":"publish","type":"product","link":"https:\/\/thecpr.org.uk\/product\/26-8-under-cover\/","title":{"rendered":"26.8 Under Cover"},"content":{"rendered":"

This edition of\u00a0Performance Researc<\/em>h\u00a0dives into the murky realities that belie undercover and covert undertakings. From domestic engagements to clandestine settings (of which some appear to be one and the same) this issue tackles the ethics, challenges, moral pitfalls, gendered realities, moments of necessity and artistic qualities of undercover practices. Many are topics that fall within the categories of \u2018performing ground\u2019 (Levin), \u2018not\u2013not identities\u2019 (Schneider), \u2018intentional concealment\u2019 (Bok) and \u2018dark play\u2019 (Schechner). With an array of international contributors, this issue moves beyond the traditional and popular conceptualization of \u2018undercover\u2019 to question how society understands the covert, clandestine and hidden, and where theatre and performance intersect with such undertakings. \u2018Undercover\u2019 draws back the curtain on otherwise unseen practices and knowledge and allows readers to glimpse the hidden worlds beneath and within.<\/p>\n

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READ THE EDITORIAL AND ARTICLE ABSTRACTS\u00a0online<\/a><\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

1\u00a0Editorial: Revealing undercover engagements<\/strong><\/p>\n

JAMES M. HARDING AND\u00a0 FRASER STEVENS<\/p>\n

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5\u00a0Performing under the Bedspread: Hysterical undercover<\/strong><\/p>\n

operations<\/strong><\/p>\n

JOHANNA BRAUN<\/p>\n

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15\u00a0Mutual Deception and Disguise: Iranian artists and censors<\/strong><\/p>\n

Q-MARS HAERI<\/p>\n

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24\u00a0Larvatus Prodeo: Covert seduction in Dora Garcia\u2019s The<\/strong><\/p>\n

Romeos [artist pages]<\/strong><\/p>\n

THOMAS B\u00ceRZAN<\/p>\n

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29\u00a0The Poetic Failure of Mata Hari: Espionage as performance<\/strong><\/p>\n

theatre<\/strong><\/p>\n

FRASER STEVENS<\/p>\n

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41\u00a0Unearth Not: Gestures of concealment and Zlato Pakovi\u0107’s<\/strong><\/p>\n

theatre of reveal in Post-Yugoslav Serbia<\/strong><\/p>\n

\u017dELJANA TUNI\u0106 AND SNE\u017dANA STANKOVI\u0106<\/p>\n

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52\u00a0Enstranglements: Undercover in Arts for Health [artist pages]<\/strong><\/p>\n

BECKY SHAW, ANTHONY SCHRAG, FRANCES WILLIAMS<\/p>\n

AND SARAH (SMIZZ) SMITH<\/p>\n

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56\u00a0Spy House: Transformations in espionage performance<\/strong><\/p>\n

SARA BRADY<\/p>\n

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66\u00a0Microhistories of Jewish Clandestine Performance, Self-<\/strong><\/p>\n

Orientation and Survival during the Holocaust<\/strong><\/p>\n

ADELA M. KARSZNIA<\/p>\n

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76\u00a0(C)Overt Operations: Detective disguise and the threat of<\/strong><\/p>\n

deception<\/strong><\/p>\n

ISABEL STOWELL-KAPLAN<\/p>\n

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87\u00a0Watching the Detectives [artist pages]<\/strong><\/p>\n

ALEXANDER KELLY<\/p>\n

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91\u00a0Cover to Uncover: Masked performance and gender in Emmy<\/strong><\/p>\n

Hennings\u2019 and Sophie Taeuber\u2019s Dada dance<\/strong><\/p>\n

SOPHIE DOUTRELIGNE<\/p>\n

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101\u00a0Undercover Next Door: The Cold War aesthetics of truth and<\/strong><\/p>\n

deception in espionage theatre<\/strong><\/p>\n

JAMES M. HARDING<\/p>\n

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111\u00a0Unearthing Undercover: Intimations relating<\/strong><\/p>\n

campesinos, the more-than-human and the politically<\/strong><\/p>\n

disappeared in my art practice [artist pages]<\/strong><\/p>\n

LIVIA DAZA-PARIS<\/p>\n

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116\u00a0Hidden Archives, Closeted Desires, Postponed Utopias: Queer<\/strong><\/p>\n

ultra-nationalism in Turkish opera<\/strong><\/p>\n

R\u00dcSTEM ERTU\u011e ALTINAY<\/p>\n

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126\u00a0Fowl Play: Overtures in human\u2013bird communication<\/strong><\/p>\n

NATALIE DOONAN<\/p>\n

……………………………………………………………………………………<\/p>\n

REVIEWS<\/strong><\/p>\n

135 In Search of a Desi Drag Queen<\/p>\n

AB BROWN<\/p>\n

137 Predicting the Unpredictable<\/p>\n

ALISON D’AMATO<\/p>\n

138 The Transloca as Theoretical and Hermeneutical Model<\/p>\n

SHANE T. MOREMAN<\/p>\n

139 \u2018Not knowable in advance\u2019: Feeling brown with Jos\u00e9 Mu\u00f1oz<\/p>\n

PATRICIA YBARRA<\/p>\n

……………………………………………………………………………………<\/p>\n

141 Notes on Contributors<\/p>\n\n\n