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Performing Viral Pandemics?

Started by aha. Last reply by aha May 11, 2020. 2 Replies

Hi.Hopefully all is well!The shorty is a suggestion to start an online conversation group to elaborate questions from theCovid-19 oriented period and Performance Philosophy?eg. Intra-Active Virome?…Continue

We all have the same dream?

Started by Egemen Kalyon Apr 2, 2020. 0 Replies

Hello, "We all have the same dream" is my project that aims to create an archive from the dreams of our era and reinterpret Jung's "collective unconscious" concepts with performance and performing…Continue

Circus and Its Others 2020, UC Davis CFP

Started by Ante Ursic Mar 15, 2020. 0 Replies

Circus and its Others 2020November 12-15University of California, DavisRevised Proposal Deadline: April 15, 2020Launched in 2014, the Circus and its Others research project explores the ways in which…Continue

Tags: critical, ethnic, queer, performance, animal

Blog Posts

"Further Evidence on the Meaning of Musical Performance" Working Paper

Posted by Phillip Cartwright on January 15, 2020 at 21:28 0 Comments

Karolina Nevoina and I are pleased to announce availability of our working paper, "Further Evidence on the Meaning of Musical Performance". Special thanks to Professor Aaron Williamon and the Royal College of Music, Centre for Performance Science.…

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Division of Labor - Denis Beaubois

Posted by Gabrielle Senza on February 23, 2018 at 0:36 0 Comments

I just came across Denis Beaubois, an Australian multidisciplinary artist whose work, Currency - Division of Labor might be of interest to researchers here.

It is a series of video/performance works that use the division of labor model in capitalism as a structural tool for performance.

From his website:

The Division of labour work explores…

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Adele Senior
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Profile Information

Institution (if affiliated)
Leeds Beckett University
Research Interests
contemporary experimental performance and ethics; performance theory and the biological arts; the animal in performance; performance, documentation and the archive; and the potential of Derridean deconstruction for both analysing and writing the live encounter with theatre, performance and live art practices.
Current Research
My research interests include continental philosophy, performance theory,
contemporary theatre and performance, live art, and the practice of the biological arts in the UK, US, Europe and Australia. I am particularly interested in what we might call ‘biological life’ in performance and the potential ethical and political resonances of encountering humans, animals, children, cells, tissue, and other forms of life within the context of artistic
practice. I am currently researching the appearance of children in contemporary performance in the UK and examining how their presence might prompt a reconsideration of established assumptions about performance’s ontological status. My work has been published in
Theatre Journal, Contemporary Theatre Review, and the specialist technology and art journal Technoetic Arts.
Research Overview
My previous research has predominantly been focused on the biological arts, an area of art and performance practice that uses biotechnology and biological material as the media and subject of artistic enquiry. In 2010 I completed an AHRC-funded PhD in this field which examined the work of a prominent group of artists called the Tissue Culture and Art Project (TC&A). As part of this doctoral research I undertook a two month research residency in the collaborative art and science research laboratory at the University of Western Australia (UWA) where TC&A are based. The thesis explored the marginal position that bioart occupied in theatre and performance scholarship in the early 2000s and set out to examine the potential of performance theory and continental philosophy (namely the work of Jacques
Derrida, Emmanuel Lévinas and Giorgio Agamben) to develop a critical understanding of bioart’s aesthetic, ethical and political consequences. My post-doctoral research builds on a wider intellectual commitment to exploring the potential of Derridean deconstruction for thinking performance, live art and bioart practices. In more recent work, this has included a critical interrogation of notions of archiving, messianism, and an ethics of responsibility in relation to both live and documentary traces of various bioart practices. I have recently returned to my roots in contemporary theatre to consider how the dominant discourse of death and mortality in performance studies is challenged by the increasing visibility of children in contemporary practice over the past decade.

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