What are Performance Philosophy Problems? (original) (raw)
Related papers
"We Are Performance Philosophy Problems" Towards An Accessible Performance Philosophy?
Performance Philosophy , 2024
These two papers respond to a question directed mainly to Tony McCaffrey and some members of the Different Light Theatre Company after the Key Group Presentation ‘Collaboration, Care and Conviviality’, at the Performance Philosophy Problems Conference, 15–18 June 2022. Dave Calvert, Janet Gibson, and Kate Maguire-Rosier presented alongside McCaffrey.
Giving and Taking Voice in Learning Disabled Theatre ISBN 9780367538972
Giving and Taking Voice in Learning Disabled Theatre, 2023
Giving and Taking Voice in Learning Disabled Theatre offers unique insight into the question of 'voice' in learning disabled theatre and what is gained and lost in making performance. It is It is grounded in the author's eighteen years of making theatre with DiIerent Light Theatre company in Christchurch, New Zealand, and includes contributions from the artists themselves. This book draws on an extensive archive of performer interviews, recordings of rehearsal processes, and informal logs of travelling together and sharing experience. These accounts engage with the practical aesthetics of theatre-making as well as their much wider ethical and political implications, relevant to any collaborative process seeking to represent the under- or un-represented. Giving and Taking Voice asks how care and support can be tempered with artistic challenge and rigour and presents a case for how listening learning disabled artists to speech encourages attunement to indigenous knowledge and the cries of the planet in the current socio-ecological crisis. This is a vital and valuable book for anyone interested in learning disabled theatre, either as a performer, director, dramaturg, critic or spectator
Performance Philosophy 7(2) (2022): Imagining the open
Performance philosophy, 2022
Arts in the Netherlands. Her forthcoming publications include Interspecies Performance (2023) co-edited with Flo Fitzgerald-Allsopp; and On Love and Not Knowing (2022)-on the work of Fevered Sleep-co-edited with Luke Pell, David Harradine and Sam Butler for Performance Research books. Will Daddario is a grief worker, performance philosopher, and theatre historiographer. With Matthew Goulish, he is the author of the forthcoming Pitch and Revelations: reconfigurations of philosophy, poetry, and reading through the work of Jay Wright. With his wife, Joanne Zerdy, he runs Inviting Abundance (invitingabundance.net), which is dedicated to helping people develop creative approaches to grief.
POSTHUMAN FUTURES Art Literature program
We wish to increase hybridity between artists and scholars, in order to create spaces for affirmative ethics (Braidotti, 2017) and for “thinking with” (de la Bellacasa, 2012) alternative onto-epistemologies. The interdisciplinary framework of this event is a collaborative effort between artists, scholars, artist-scholars and researchers, both emerging and established. Interventions take the form of academic and/or artistic presentations, panels, video screenings and performances. We will explore and reflect on the advancements of artistic research and literary studies on questions of the posthuman.
Forum of Slavic Cultures, 2018
The central point of this publication is to reflect on oppositional practices involving collaborative communities in art and culture. We propose to take into consideration the different histories and experiences of Europe while reflecting and contesting art-educational participative projects with re-) and dis-) integrative aims. This publication is an attempt to resist the conceptual and practical instrumentalisation of community work in art and culture, drawing upon different histories and experiences of European and Russian oppositional practices, without abandoning a critical stance.
SLOW: Crip Theory, Dyslexia and the Borderlands of Disability and Ablebodiedness
2010
What is ablebodiedness? When do “invisible” disabilities become visible? How can performance complicate notions of ability and disability? Although theories of disability are starting to destabalize a false dichotomy between able bodied and disabled bodied, I find myself, as a person with dyslexia, in the borderlands of disability and ablebodiedness. For me this borderland is a place of contradiction and ambiguity, plagued with a cognitive impairment and blessed with kinesthetic intelligence. Questions of intersectional identities, identity politics, disability activism and disciplined scholarship are all complicated by the hybridity of the borderlands. The fluidity inherent in crip (theory) and its attention to the cultural production and the performativity of ablebodiedness, can provide a framework for analysis that embraces the isolating spaces of the borderlands. This project, which consists of the performance piece “SLOW” and written analysis, theorizes a crip performance metho...
Performance as Research: Methods, Knowledge, Impact, 2018
Abstract: The very existence of this volume testifies that it is no longer outrageous to claim that performance can be a method of investigation, knowledge production and scholarship, but also testifies to the fact that there is work to be done in exploring how particular performance practices can be commensurable with the accumulation, verification and dissemination of what counts as academic knowledge. Yet, even in thus articulating the problem, there is a presupposition that performance is just one (unruly) member of a broader category of (otherwise adequate) scholarly methods. In this formulation, performance is the outsider looking in, and thus assumes the burden of justification and assimilation as it attempts to enter the academy. The presumed adequacy of more conventional research methods – always in relation to the purported *objectivity* of the scientific method – still dominates tacit understandings of normative academic knowledge production, and inflects the ways in which *performance as research* (PAR) is theorized as both challenge to and member of the academy. In this chapter, instead of conceptualizing performance as a type of research, I begin with the inverse premise, that scholarship is a type of performance.
Disability Theatre as Critical Participatory Action Research: Lessons for Inclusive Research
Social Sciences, 2024
Informed by critical disability studies and disability justice, this article describes the reflections of two university researchers co-researching with self-advocates (individuals with intellectual disability), theatre artists, researchers, and a community living society to create social justice disability theatre as critical participatory research (CPAR), demonstrating how disability theatre can contribute to and advance inclusive research practice. Disability justice-informed theatre as CPAR has direct relevance to people with intellectual disabilities; offers a platform where selfadvocates' diverse ways to communicate and be in the world are honoured and taken up as resources to the research and community; and can generate mentorship opportunities for selfadvocates to learn, practice, and develop research skills. Significances include showing how the theatre creation process (devising, developing, and refining scenes) is research in itself and how tensions are recognized as sites of possibility. Future research should explore how increasing pathways to communication, co-creation of KT strategies, and protocols for power sharing and problem solving within disability theatre as CPAR impact the roles, outcomes, and experiences of disabled and non-disabled researchers and audience members.
This study is an exploration into the kinds of meanings embedded in dominant conceptions of resilience, and the ways such conceptions may be deployed, shaped, and reshaped through an encounter with “disability.” The purpose of this project is to critique, deepen and expand on existing understandings of resilience through the storied accounts of 14 post-secondary students in Alberta who experience disability. Robert McRuer’s Crip Theory, and other scholarship in critical disability studies, assists in the identification of critiques and in proposing alternative meanings of resilience (referred to in this study as “cripping” resilience). New vocabularies of resilience, emerging from three kinds of narratives (Narrative of Movement, Complicating Narrative, and Narrative of (Re)imagination), are proposed to more realistically reflect the life experiences, meaning constructions, and (dis)identities of people who experience disability. Lastly, new vocabularies of resilience and new theoretical treatments suggest avenues for crafting more accessible university settings.