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2001–2021
After providing a consideration of the findings of the Patten Report, this chapter addresses recent works—A Cold House (2003) by Brian Campbell and...
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1969–1980
This chapter introduces the relationship between representations of policing and the genre of the ‘Troubles play’, and addresses theatrical works...
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1950–1969
This chapter addresses plays produced between 1950 and 1969. After providing relevant contextual information about the history of theatre in Ulster,...
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Introduction: ‘How Much Home Does a Person Need?’
This book places the questions of home among those who experience its ruptures. More specifically, I ask: how can notions of home and belonging be...
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Dramaturgical Ethics: Undoing and Decreating
After the play This is Us was performed (see fieldwork reflection), I went to Sjælsmark for a final session to interview the group about the process...
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Rehearsing the Actors II: Moment to Moment
After the initial Arrangements during the Stellproben or placement rehearsals, it was time for the Berliner Ensemble to look much more closely at the...
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Responses and Future Work
In 2015, the School of Theatre and Dance served as a laboratory whereby a group of faculty and students came together to execute Versuche: attempts...
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Deep Time: Future Pasts at Gully Cave
Field site: Gully Cave, Ebbor Gorge National Nature Reserve, Somerset, United Kingdom. This chapter considers the performance...
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Conclusion: Encounter, Intervention and Co-becoming
The book concludes with a breakdown of the key features of performance fieldwork, which draws on the six chapters to identify phases of encounter,...
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Heritage: Following the Alloway Suffragettes
Field routes: Leading to and from the Robert Burns Birthplace Museum (RBBM), Alloway, Ayrshire, United Kingdom. This chapter...
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Mobility: Performative Counterpractice for Regular Routes
Field routes: Return journeys from Glasgow to Ayr by car, and Glasgow to Egham by aeroplane, United Kingdom. This chapter...
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WAR (Ein Kriegstanz)—Amanda Piña
With her work, Amanda Piña questions how the division of dance in folkloric (or traditional) versus contemporary continues colonial relationships and...
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All Inclusive—Julian Hetzel
All Inclusive (2018) is an example of how Julian Hetzel’s performances consciously and intentionally blur the boundaries between theatre and reality....
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Conclusions: Develo** an Actor-Network Dramaturgical Vision
This chapter highlights certain threads of the Argentines of Paris actor-network, including collaborative pairs between playwright Copi and each of...
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The Opposing Strata of Feminism: Widowers’ Houses and Mrs Warren’s Profession
Peter Gahan argues that Shaw’s first three plays all raised hitherto unmentionable sexual problems, female sadism in Widowers’ Houses (1892), open...
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Performative Doing as a Living Archive of Cultural Practices
Within the context of the preceding terminological and conceptional framing of the definitions of an intangible cultural heritage, as well as of the...
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Conclusion: Perspectives for the Living Heritage of Dance
The present study worked on conceptualisations and forms of safeguarding for dance heritage. An important point of reference for this was the idea of...
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Performative Methods as an Approach to Dance Practice
The previous chapters have shown that the knowledge associated with movements is increasingly being thought about and that it starts forming part of...
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Estado Vegetal—Manuela Infante
For Manuela Infante, theatre is not first and foremost a place for the telling of stories, but a laboratory for embodied philosophy making. She takes...
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Kamp—Hotel Modern
Characteristic of much of the work of Hotel Modern is the use of scale models and video for what they describe as live animation: they use small...