October 25th 2011

CALL FOR PROPOSALS - PERFORMANCE RESEARCH 17.5 (OCTOBER 2012): 'ON DURATION'

Proposal Deadline: 1st December 2011 (see below for details)

Issue Editor: Edward Scheer


On Duration

The idea of duration has always been essential to the experience of performance from the briefest execution of the smallest gesture on a stage to the expansive Ram Lila events in India or Tehching Hsieh’s One Year performances. Duration often refers to the actual time it takes to do things, like drop a brick onto your foot or nail your arm into a wall (Mike Parr), or cut a star onto your stomach or even to walk the Great Wall of China (Abramovic and Ulay). For performance artists, duration refers to the time it takes to break away from the things that inhibit creativity, empathy and intuition, yet the extent to which any performance develops its object in real time forms the basis of what we might call the durational aesthetic.

In recent times, the citational performance forms of postmodernity have constructed a temporality of the eternal return, an endless loop or action replay within which the object's precarious place in the flux of time became key to the aesthetic strategy. We might think of re-enactment in this regard, as a key marker of the postmodern turn in performance art. The time based work of multimedia artists with its renewed emphasis on replay and remix might also constitute a useful example of this notion of temporal circuitry.

In performance, duration can mean a specific quantity of time as in a musical rhythm or even in Henri Bergson’s terms, a quality of time, characterised as the absolute time of the lived body, multiple and heterogeneous. This issue will explore the aesthetics of duration in performances which foreground the passage of time in the work and the experience of time for the spectator. ‘On Duration’ intends to develop ways of re-thinking the perceived space/time templates of performance, its modes of presencing, and to suggest different models for its interpretation.

Possible Topics:

Forms of Duration
• The chronotopes of performance: Bakhtin and time
• Bergson’s Matter and Memory as a paradigm for thinking about time as real duration
• Time signatures in performance
• The loss of temporality
• Micro-narratives v. durational events
• Inverted and intensified temporalities

Real Time Performances
• Happenings, John Cage and the emergence of time based art
• Fluxus and after
• Endurance art: Marina Abramovic, Tehching Hsieh, Mike Parr
• Time is money: Antony Gormley, Martin Creed, Coco Fusco, Santiago Sierra

Time Shifting in Video Performance
• Video and the remediation of art and performance traditions
• Re-enactments
• Manipulations and distortions of time: Martin Arnold, Douglas Gordon

Temporal Environments and Architectures
• Temporal embodiments of place /the trans-architectural
• Temporary architectures: Diller and Scofidio
• Projections and ‘relational architectures’: Lozano-Hemmer, Krzysztof Wodiczko

The volume will gather perspectives from a range of fields, including architecture, sound-art, media-art and a range of performance practices: proposals are invited from any relevant area. The format of Performance Research allows for artists’ pages and other visual representations alongside articles, interviews, documents or reviews.

SCHEDULE
• Proposals: 1st December 2011
• First drafts: 8th March 2012
• Final drafts: 1st May 2012
• Publication date: October 2012

ALL proposals, submissions and general enquiries should be sent direct to:
Becci Curtis

Issue-related enquiries should be directed to the issue editor:
Edward Scheer

General Guidelines for Submissions

Proposals will be accepted by e-mail (MS-Word or RTF). Proposals should not exceed one A4 side. Please DO NOT send images electronically without prior agreement.

Please note that submission of a proposal will be taken to imply that it presents original, unpublished work not under consideration for publication elsewhere. By submitting a manuscript, the author(s) agree that the exclusive rights to reproduce and distribute the article have been given to Performance Research.

*******

August 1st 2011

CALL FOR PROPOSALS - PERFORMANCE RESEARCH 17.4 (AUGUST 2012): ‘ON ECOLOGY’

Proposal Deadline: 1st October 2011

Issue Editors: Stephen Bottoms, Aaron Franks, Paula Kramer

How do we live on earth?

Over the last several years, a broad and growing range of theatre events and performance processes have sought to re-imagine – in varying ways – the question of our relationship, as humans, with the non-human environment. These range from site-specific engagements with particular localities to mainstage plays about climate change, from activist protest inter-ventions to experiments with sustainable staging, from environmental dance practices to performative philosophising around concepts of process and relationality. These develop-ments (and more) have been complemented by a performative turn in geographical thinking, which has brought renewed attention to the material body and its lived experience of space and place. Similarly, where the social and natural sciences meet, a growing self-reflexivity about ‘the performance of science’ has become evident.

But in what ways, and to what extent, do these various practices and concerns intersect? Is it possible to trace the outlines of a growing ecological consciousness and connectivity in performance studies and its related contexts? Or are we, instead, looking at a disparate range of activities and discourses that remain largely isolated from each other? Are these various developments testament merely to a vague sense of concern about ‘the environment’, as a threatened backdrop to our human drama? Or are we developing a potentially more progressive sense of being-in and of the natural world? What might be our toeholds and launch pads – metaphorical and earthly beginning points – for what cultural geographer David Crouch calls simply ‘holding on and going further’?

“[We need] to bridge the great wellsprings of human understanding – including the natural and social sciences, philosophy, religion and the creative arts – to ‘re-imagine’ how we live on earth.”
- Matthew Nisbet et al, “4 Cultures: New Synergies for Engaging Society on Climate Change (2010)

On Ecology will begin a mapping – or, if you prefer, a rhizomatic entangling – of these various questions and strands of praxis. The objective will be to cherish the diversity of different approaches while also apprehending their relatedness – to seek integration without capture; holism without monism. We are therefore seeking proposals that respond to, but are not limited by, the terms of this call.
Indicative themes include:

• In what ways are experimental engagements between (for example) form and content, dramaturgy and site, performer and spectator, serving to develop environmentally attuned performance modes?

• What are the sites, locations or ‘habitats’ of ecological performance, and how are they being moved through, lived in, materialised, historicised? To what extent can ongoing processes of environmental change be comprehended, and engaged with, through performative framing and intervention?

• What constitutes ‘best practice’ in terms of theatre / dance / performance that seeks to reduce its environmental footprint and render itself sustainable? And to what extent should sustainability be conceived not only in terms of pragmatic, material solutions, but in terms of performative critique of our unsustainable addictions to capitalism and consumerism?

• What role does the notion of agency play in this field of acting with, and being acted-upon by, the non-human environment? How might concepts such as Bateson’s ‘ecology of mind’ or the ‘flat ontology’ of Deleuze or DeLanda manifest themselves in embodied performance experiences – for performers, witnesses, participants, and perhaps other in/organic actors?

• An increasing and uneasy awareness of collective human endangerment of our shared eco-system has prompted cultural responses ranging from scepticism to despair. Critical thinking, wary of propaganda from either direction, may risk becoming a prolonged ‘deliberation on mourning’ (Rancière, 2004:9). But might our uncertainties and ambivalences also provide the raw materials we need to reimagine the future – using the lived, sited, awkwardly material facts of performance as our medium?

• Some geologists have dubbed the current era the ‘Anthropocene’ – a label that could be read either as scientific hubris or as an appropriate reflection on human impacts within the in/organic world. To what extent can - or should - performance question its familiar status as an inherently ‘anthropo-scenic’, human-centred medium?


On Ecology extends, in part, from the deliberations of the UK-based research network project ‘Reflecting on Environmental Change through Site-Based Performance’ (funded by the Arts and Humanities Research Council, 2010-11). See www.performancefootprint.co.uk for details. The network engaged with a wide range of practitioners including PLATFORM London, NVA, Dead Good Guides, Fevered Sleep, Julie Laffin, Dee Heddon, Baz Kershaw, Mike Pearson, Phil Smith, and others. It is hoped that this edition of Performance Research will extend the nationally-focused scope of the network, to embrace a truly global, cross-cultural range of perspectives and practices, both ‘major’ and ‘minor’.

The format of Performance Research allows for artists’ pages and other visual representations alongside articles, interviews, documents or reviews. Proposals are invited from all disciplinary viewpoints, and from artists and writers, theorists and fieldworkers.


SCHEDULE
• Proposals: 1st October 2011
• First drafts: 4th January 2012
• Publication date: August 2012


ALL proposals, submissions and general enquiries should be sent direct to:
Becci Curtis: rec12@aber.ac.uk

Issue-related enquiries should be directed to the issue editors:

Stephen Bottoms: S.J.Bottoms@leeds.ac.uk
Aaron Franks: afranks.ges.gla@gmail.com
Paula Kramer: kramerp@uni.coventry.ac.uk

General Guidelines for Submissions
Proposals will be accepted by e-mail (MS-Word or RTF). Proposals should not exceed one A4 side. Please DO NOT send images electronically without prior agreement.


Please note that submission of a proposal will be taken to imply that it presents original, unpublished work not under consideration for publication elsewhere. By submitting a manuscript, the author(s) agree that the exclusive rights to reproduce and distribute the article have been given to Performance Research.

June 10th 2011

OUT OF THE BOX: UNFOLDING FEASTS / ALLAN O'R BLWCH : AGOR GWLEDDOEDD
JUNE 2011

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A Ceredigion-based Food and Performance Project
The Centre for Performance Research (CPR) was commissioned by Ymlaen Ceredigion - as part of their Iachus Gyda'n Gilydd /Healthy Together programme - to design a project for groups of young people that could explore issues of healthy eating through performance.

In April 2011 five community groups from Llanarth, New Quay, Llandysul, Penparcau and Cellan each began a 10 week process of working with an Arts Facilitator to design the menu and setting for a feast.

To find inspiration for their feasts the children investigated tastes and smells never before encountered and delved into history, far away cultures, myth and fairytale. They packaged these experiences and their ingredients up into boxes, which were then delivered to one of the other five communities to be opened and enjoyed.

On Sunday 10th June 12pm - 3pm there will be a free exhibition in Aberaeron Memorial Hall. This exhibition will display some of the wonderful props and costumes made by the five communities over the course of the project as well as the stage setting that awaits animation at a final feast.

The final performative feast will be directed by Richard Gough and will bring all five community groups together on Tuesday 12th June.

Tylwyth Teg Feast, Cellan Home Education Group

The feast we created together for the Llanarth group was inspired by Welsh Fairy legend. The food was based on local Welsh foods and included Lava bead cakes and a jelly which contained hand picked wild rose flowers. We made it as magical as possible, including "supersense" games, a fairy altar, handmade Tylwyth Teg masks and ritual performance. It started with the feast being contained in a padlocked suitcase with a combination lock. The children were asked to decifer the code from the passages from welsh legend, so there was an educational element too! We even made edible oat cake plates!

Anna Clark, Arts Facilitator for the Cellan Home Education Group.


The Wren’s Feast, Llandysul Primary School Group and Llandysul Family Centre Group

The feast created for the Newquay Group was inspired by the tradition of hunting wrens on St Stephens day. The children were taken back to a time when wren-hunting used to take place and asked to re-enact this tradition, finding 28 wrens which are then held captive upside down in a golden cage.

Performers dressed as four blind ravens arrived to change the course of history and the children who have been hunting wrens are turned into birds. The ‘birds’ prepared a feast with four elements: An aperitif of flowered cordial, a salad of herbed mini-tomatoes, a main course of glittering quail eggs and a sweet of ‘popping’ strawberries.

The birds were turned back into children to consume the feast and to learn the lesson "Whosoever robs the wren’s nest shall never have health in his life". The feast concluded when the wrens were ceremonially released from their cages into the individual care of each of the children.

Guy Norman, Arts Facilitator for Llandysul Primary School Group and Llandysul Family Centre Group

The Beast’s Feast, Lwyn-yr-Eos Primary School Group and After School Club, Penparcau

Both groups explored stories related to a labyrinth. We looked at shepherd’s stories from Wales, the Cretan Labyrinth. We decided to create a feast for Cellan that was appropriate for vegans and enjoyable for ourselves.

Each part of the Thai Lentil coconut stew was analysed as a part of the beast’s body that had been found in the labyrinth. We wanted Cellan to enjoy physical activity through games played in the labyrinth. This enabled them to win the ingredients to recreate the beast as something to eat.

Steve Davis, Arts Facilitator


Wild Food Feast, Llanarth Wild Food Group

Inspired by a series of wild food walks, our feast evolved throughout the three months. We used natural and foraged materials which we collected during our sessions. We tried to convey this process in our box, making a table cloth to illustrate the area where our sessions took place and finishing with a treasure hunt, to transport the group we passed to (Llandysul) out into nature, to forage for wild treats.

Jade Mellor, Arts Facilitator

The Dragonets Unfolding Feast, New Quay Primary School Group

The New Quay group compared the feasts and ceremonies of Japan and Wales. They realised that although there were interesting differences that could be explored further, there were also many things shared by the cultures of Japan and New Quay such as a history of dragon mythology and a past that depended on the sea as a major source of food. The children went on expeditions to collect their own food from the sea, they harvested seaweed and learnt how to fillet fish, they tried Japanese nori and Welsh lavabread and developed their own seaweed smoothies and cawl dumplings! They also investigated Japanese food packaging and developed their own logo and wrappings for the Penparcau feast.

Vicky Wilson, Arts Facilitator

This project was funded by the BIG lottery fund

Project Partners:

Ymlaen Ceredigion (www.ymlaenceredigion.org.uk)
A not-for-profit organisation supporting communities in acquiring the awareness, understanding and skills they need in order to fulfil their social, economic and environmental needs. Ymlaen Ceredigion works in partnership with Hywel Dda Health Board and Ceredigion Public Health Team.

For Ymlaen Ceredigion on this project: Alan Whittick – Project Manager
Tom Bean – Development Worker
Iona Davies – Development Worker
Oliver Morris – Development Worker

The Centre for Performance Research, Aberystwyth (www.thecpr.org.uk)

For CPR on this project: Richard Gough – Artistic Director
Helen Gethin – Project Co-ordinator
Siu-lin Rawlinson – Project Co-ordinator

Appreciation and thanks for their dedication and support goes to:

Llandysul Primary School and Llandysul Family Centre , Newquay Primary School , Cellan Home Education , Lwyn-yr-Eos Primary School Group and After School Club, Penparcau , Llanarth Wild Food Group

The Artists:

Anna Clark, Steve Davis, Jade Mellor, Guy Norman, Vicky Wilson, Kindle Theatre, Birmingham (http://kindletheatre.co.uk)

Documentation:

Editor: Tricia O'Kane
Assistant Editor: Jonathan Gaunt
Camera: Tricia O'Kane, Jonathan Gaunt, Dan Aird, Cao Huirong
With the support of Trevor Harris and Richard Jackson, all from the School of Art, Film and Media, University of Wales, Lampeter

Many thanks to the following food suppliers who have generously supplied their produce for the final performative feast -

• Blaencamel Farm, Aberaeron

• Hafod Cheese, Llangybi

• Llwynhelyg Farm Shop, Sarnau

• New Quay Honey Farm

• Morrisons, Aberystwyth

• Olive Branch Greek Restaurant, Aberystwyth

• Rachels Organic Yoghurt, Aberystwyth

• Tropical Forest Honey, Tal y Bont

• Tŷ Nant, Spring Water, Llanon

• Ultracomida Delicatessen and Restaurant, Aberystwyth

May 20th 2011

PUBLICATION ANNOUNCEMENT: NEW BOOK ON LONE TWIN!


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PERFORMANCE RESEARCH BOOKS
CENTRE FOR PERFORMANCE RESEARCH, ABERYSTWYTH

IS PLEASED TO ANNOUNCE A NEW PUBLICATION
ABOUT THE WORK OF LONE TWIN

GOOD LUCK EVERYBODY: LONE TWIN – JOURNEYS, PERFORMANCES, CONVERSATIONS

Edited by David Williams and Carl Lavery

Performance Research Books, Aberystwyth

This is the first book-length collection to focus on the performance and theatre work of Lone Twin - Gregg Whelan and Gary Winters - a duo recognised
internationally as one of the UK's most inventive performance collaborations of the past decade. They have made over thirty projects located at the cusp of live art, theatre, and performance writing, travelling the world with theatre shows, collaborative public projects, durational events, and a six-year cycle of performances about bodies, water, journeys, and chance encounters.

The book contextualises, documents and analyses Lone Twin's work. It explores their interest in live performance, journeys, places, language,
narrative and image, and includes original interviews, essays, performance texts and photographs. It has been designed to engage creatively and critically with the duo’s evolving concerns and diverse modes of practice by adopting a range of theoretical and interdisciplinary perspectives. The collection locates Lone Twin within a contemporary landscape of experimental performance making, and seeks to pay homage, in deliberately playful manner, to the participatory and optimistic energies that characterise the duo’s creative work.

Recommended Retail price - £33.50
Performance Books pre-publication Price (until end June)- £25!

If you would like to purchase the book at this exclusive pre-publication rate please visit Performance Books, the Centre for Performance Research Bookshop in Aberystwyth or order from our online shop. (UK customers only, overseas customers please contact info@thecpr.org.uk for postal rates)

http://www.thecpr.org.uk/shop/books_detail.php?bookID=881

For multiple copies please contact Siu-lin Rawlinson (slr@aber.ac.uk) as postage discounts will apply.

Performance Research Books
Inside Performance Practice

Performance Research Books publishes generously illustrated and finely designed books that present documentation and analysis of contemporary performance practice – through the work of individual artists, companies and ensembles. Each publication combines texts, scores and critical reflection on a distinctive body of work, together with scholarly and theoretical analysis of the practice, the voices of practitioners, the view of the makers and the evidence of the work.

Performance Research Books publishes and commissions work that stems from a scholarly engagement with artist-led research and practice. Each publication seeks a lively conversation between theory and practice and the work is revealed and illuminated through dialogue and discourse exploring a variety of formats: interviews, photo-essays, performance texts, scenographic designs, scores, notes and critical analysis.

Performance Research Books is an independent venture of Performance Research, a specialist journal founded in 1996 and published bi-monthly (from 2012) which aims to promote a dynamic interchange between scholarship and practice in the expanding field of performance. Interdisciplinary in vision and international in scope, its emphasis is on contemporary performance arts within changing cultures.

Performance Research Books follows and expands the policy of the journal, but opens into publishing monographs, bookworks, and singular works on distinctive practice.

Performance Research Books is an imprint of ARC, a division of the Centre for Performance Research Ltd, an educational charity limited by guarantee. The Centre for Performance Research is located in Wales and works internationally.

More information (click on the filenames to download):
back-LoneTwin.pdf
front-LoneTwin.pdf

March 15th 2011

PERFORMANCE RESEARCH JOURNAL CALL FOR CONTRIBUTORS

Vol. 17, No. 1

On Failure – Call for Contributors

Issue Editors: Róisín O’Gorman and Margaret Werry

To speak of failure is to invite stigma. Yet failure is a fact of our lives as performers and artists, teachers and learners, activists and institution builders. What is the value of facing failure square on, studying it, theorizing it – even cultivating it? How can we, in Beckett’s famous words, “fail again, fail better?” If failure is the sine qua non of performance--improvisation, rehearsal, experiment assume an accretion of failures as integral to the process of discovery and creativity--this special issue asks if performance might provide us with a metaphor and methodology for failure.

“On Failure” will focus in particular on pedagogy.. Hope and success are the cultural dominants in a neo-liberal age, the mantra of the corporatizing university, but also the resort of progressive efforts by artists, teachers and public intellectuals in the humanities, who yoke movements for change to teleological narratives of aspiration and self-assertion.

In Theatre and Performance Studies, most work on public art, activism, and pedagogy--from recent literature on relational aesthetics, to established Boalian work on theatre for social change--carries an ameliorative and developmental charge. Yet clearly, most such projects fail most of the time; fail to democratize, raise visibility, transform consciousness or even gain the understanding of those they claim to aid. Dwelling on and in failure offers not only a tool of critique or diagnostic of neo-liberal enterprise, but also a way to remodel the theoretical premises of activist work in our discipline, querying the trajectories and temporalities of change enacted in performance.

How does failure focus progressive hopes not on future transcendence, but in the interstices of present struggle—the immanence and “becoming” of the everyday? What is the affective landscape of failure, and what social and political work does the affect of failure do? What is the analytic power of failure to reveal the limits of the (currently) possible, thinkable, acceptable, and the contours of structures of possibility? What is the relationship between failure and change--what role has failure played in significant transformations (of political or artistic movements, scientific discoveries, for example)? What is the quality of failure as an aesthetic experience? How does failure help performance theory rethink some of its central terms, such as repetition, difference, death, or presence? What is failure, anyway? How or where does failure register, institutionally, viscerally, bodily, affectively? What is its social choreography and how is that choreography culturally or historically variant or contested? What are the risks of valorizing failure in the way these questions imply? What does such a project stand to learn from those who are set up to fail, doomed to fail, or dismissed as failures? Finally, against the background of current catastrophic world-historical failures (economies, governments etc.), or the intractable, durational failure of major institutions (public higher education, for example), what is the value of attending to the micro-failures of performance and pedagogy?

Topics

* Failures in translation and/or trans-cultural transactions.

* Accounts of those who are set up to fail, particularly of those on
the margins of institutions (such as adjunct teachers), or the art establishment, for whom the stakes of failure seem particularly high.

* Failure in cultural context – consequences of different or
changing cultural processes and attitudes towards failure.

* Migrations of failure: accounts of how failure moves globally or
cross-culturally.

* Rehearsal or company ethnographies, focusing on particularly
daring or innovative uses of failure in performance method.

* Legacies of failure –failed political, artistic, and intellectual
projects, failed ideologies. How do we live in the ruins?

* Failure in other contexts of learning: science or engineering,
medicine, or craft, for example.

* Stillborn, invisible failures: art that never got made;
performances that never reached the stage; lessons that never got taught.

* Experiments in failure; deliberate failures – by artists,
teachers, activists.

We seek contributions in a wide range of formats: project ethnographies, descriptions of pedagogical experiments in and outside the academy, reflections and theorizations, interviews and dialogues, tales from the pedagogical or public art trenches, creative and visual responses.

Deadlines are as follows:

Proposals: 15 April 2011

Completed articles: August 2011

Publication date: February 2012

ALL proposals and general enquiries should be sent direct to:

Alison Matthews: aem7@aber.ac.uk

(who is assisting Sandra Laureri with this particular issue)

‘On Failure’ editorial enquires should be directed to Róisín O’Gorman r.ogorman@ucc.ie or Margaret Werry werry001@umn.edu

All other matters in relation to the Journal PR, please contact Sandra
Laureri: Performance Research sblstaff@aber.ac.uk

Proposals will be accepted by e-mail (MS-Word or RTF). Proposals should not exceed one A4 side. Please DO NOT send images electronically without prior agreement.

Please note that submission of a proposal will be taken to imply that it presents original, unpublished work not under consideration for publication elsewhere. By submitting a manuscript, the author(s) agree that the exclusive rights to reproduce and distribute the article have been given to Performance Research.

December 10th 2010

CPR COLLECTIONS NEWS - WINTER 2010

Contents:

1. Directors' Forum Footage

2. VC Studentship – Jim Woolley

3. Birmingham Central Library Books

4. Internship and volunteer news and opportunities

5. The Fourth Forage

6. Acquisitions

7. Pastmasters

8. 100 boxes!

9. Class Visits

To Download the CPR Collections newsletter please click on the link below.

More information (click on the filenames to download):
Collections_News_Winter2010.pdf

June 4th 2010

THE LABORATORY THEATRE NETWORK


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The Centre for Performance Research is pleased to announce the formation of a Laboratory Theatre Network.

The Laboratory Theatre Network will ask how theatre laboratories have experimented with form and content, with generating innovation in technique/craft, application, aspiration, and in the social and communal function of theatre. It will investigate how laboratory theatres have carved out their own liminal experimental spaces in relation to both mainstream professional theatre and the disciplines of theatre/performance studies and how, as such, they are in precarious and often isolated positions in the current geopolitical and economic climate. This Network aims to assess recent histories of laboratory theatre and to examine current independent configurations before collaboratively proposing new modes of experimental practice.

CPR will be joined in this research project by three other network partners:

The Grotowski Institute, Wroclaw,Poland

The Grotowski Institute is a city institution which combines artistic and research projects that correspond to the challenges laid down by Jerzy Grotowski’s creative practice. It was formed around Jerzy Grotowski, the key late twentieth century laboratory theatre figure and both continues and expands his work and ideas and hosts the Grotowski Archive.

Odin Teatret, Holstebro, Denmark

Nordisk Teatr Laboratorium/Odin Teatret has a broad remit of research, pedagogy, performance and ‘transformance’ (integrating performance into the community). Its research is further developed through ISTA - International School of Theatre Anthropology - and the University of Eurasian Theatre which itself is a network of about sixty artists and university researchers from different geographical areas, traditions and genres. Materials from all these activities are organised in collections and archives. It has the status of a self-governing institution and works closely with the University of Aarhus.

The Hemispheric Institute of Performance and Politics, New York, USA

The Hemispheric Institute of Performance and Politics is a collaborative, multilingual, and interdisciplinary consortium of institutions, artists, scholars, and activists throughout the Americas. Working at the intersection of scholarship, artistic expression, and politics, the organization explores embodied practice—performance—as a vehicle for the creation of new meaning and the transmission of cultural values, memory, and identity. It is hosted by New York University (NYU), NYC, USA.

The Laboratory Theatre Network is the recipient of a Leverhulme Network grant.

March 11th 2009

PERFORMANCE RESEARCH JOURNAL – REQUEST FOR ORIGINAL ISSUES

Do you own any early issues of the Performance Research Journal? CPR holds very few of the first three series of the journal and the first issue of the fourth:

1996
1.1 Temper of the Times

1.2 On Risk

1.3 On Illusion

1997

2.1 Letters from Europe

2.2 On Tourism

2.3 On Refuge

1998

3.1 On America

3.2 On Place

3.3 On Ritual

1999

4.1 On Cooking

If you have any original copies of these journals that you no longer need (or indeed any later ones) please consider donating them to CPR to create archive sets. Or, if you were planning to sell them, please call Helen Gethin at CPR before you offer them to a second hand book-seller : heg@aber.ac.uk, 01970 622133

email:heg@aber.ac.uk