|
Issue |
Title |
|
No 17 (2022): Perform or Else? Revisiting Jon McKenzie's Work in the Post-pandemic World |
To the Ends of the World |
Abstract
PDF
|
Emma Willis, Nien Yuan Cheng, Chris Hay |
|
Vol 5, No 1 After Effects: Performing the Ends of Memory |
Towards a Phenomenology of the Witness to Pain: Dis/Identification and the Orlanian Other |
Abstract
PDF
|
Christine Stoddard |
|
Vol 2 Japan After the 1960s: The Ends of the Avant-Garde |
Tradition and Innovation: Dance Hakushu 2005. August twelfth through twenty-first, Body Weather Farm, Yamanashi, Japan. |
Abstract
PDF
|
Zack Fuller |
|
Vol 9 Assembling Wonder |
Transfigured Stages: Major Practitioners and Theatre Aesthetics in Australia, by Margaret Hamilton |
Abstract
PDF
|
Denise Varney |
|
Vol 2 Japan After the 1960s: The Ends of the Avant-Garde |
Translation, Hybridity, and ‘The Real Thing’: Don Kenny’s English Kyôgen |
Abstract
PDF
|
Lisa Kuly |
|
Vol 5, No 1 After Effects: Performing the Ends of Memory |
Trauma, Antagonism and the Bodies of Others: A Dialogue on Delegated Performance |
Abstract
PDF
|
Claire Bishop, Julia Austin |
|
No 17 (2022): Perform or Else? Revisiting Jon McKenzie's Work in the Post-pandemic World |
Turn or Else |
Abstract
PDF
|
Goran Sergej Pristaš |
|
Vol 8 Practising Contemporary Art in the Global City for the Arts, Singapore |
Two-Trick Pony |
Abstract
PDF
|
Paul Rae, Kaylene Tan |
|
Vol 3 The End of Ethics? Performance, Politics, and War |
Unsettling Space: Contestations in Contemporary Australian Theatre, Joanne Tompkins |
Abstract
PDF
|
Gay McAuley |
|
Vol 2 Japan After the 1960s: The Ends of the Avant-Garde |
Unspeakable Acts: The Avant-Garde Theatre of Terayama Shûji and Postwar Japan, Carol Fisher Sorgenfrei |
Abstract
PDF
|
M Cody Poulton |
|
Vol 1 Live Ends: Performance in the Information Age |
Vibrations in the Air: Performance and Interactive Technics |
Abstract
PDF
|
Andrew Murphie |
|
Vol 5, No 1 After Effects: Performing the Ends of Memory |
Visuality in the Theatre: The Locus of Looking, Maaike Bleeker (Basingstoke, Palgrave MacMillian, 2008) |
Abstract
PDF
|
Peta Tait |
|
Vol 6 Interruptions: Letters to Jimmie Durham |
Vulture and its … |
Abstract
PDF
|
Nikos Papastergiadis |
|
Vol 11 Staging Real People |
Wanna Play? Dries Verhoeven and the Limits of Non-Professional Performance |
Abstract
PDF
|
Michael Bachmann |
|
Vol 5, No 1 After Effects: Performing the Ends of Memory |
Watching Whoopi: The Ethics and Politics of the Ethics of Witnessing |
Abstract
PDF
|
Geraldine Harris |
|
Vol 4 Emergences: 21st-Century Performance |
We Are Cells: BioArt, Semi-Livings, and Visceral Threat |
Abstract
PDF
|
Kate Rossmanith |
|
Vol 7 Images of Happiness |
We are the fresh food people: The Supermarket as a performance of happiness |
Abstract
PDF
|
Edie Paterson |
|
No 16 (2021): Performance and Radical Kindness |
"We Know...": Collective Care in Participatory Arts |
Abstract
PDF
|
Sue Mayo |
|
Vol 13 Performance, Choreography, and the Gallery |
What Kind of Work Is This? Performance and Materialisms in the Gallery |
Abstract
PDF
|
Theron Schmidt |
|
Vol 13 Performance, Choreography, and the Gallery |
What What We Do Does |
Abstract
PDF
|
Rebecca Hilton |
|
Vol 12 Performance, Technology, and Intimacy |
William Yang: Stories of Love and Death by Helena Grehan and Edward Scheer (Sydney: NewSouth Publishing, 2016) |
Abstract
PDF
|
Teik-Kim Pok |
|
Vol 13 Performance, Choreography, and the Gallery |
Wine and Swish: Rebecca Ann Hobbs’ Dancevideos in the Mall |
Abstract
PDF
|
Victoria Wynne-Jones |
|
No 16 (2021): Performance and Radical Kindness |
Withness in kind |
Abstract
PDF
|
Lisa Samuels |
|
Vol 14 Performance, Politics, and Non-Participation |
You Are Invited Not to Attend: Answering the Call for a Cultural Boycott of the Shiraz Festival of the Arts |
Abstract
PDF
|
Lindsay Goss |
|
Vol 5, No 2 After Effects: Performing the Ends of Memory |
‘Did you mean post-traumatic theatre?’: The vicissitudes of traumatic memory in contemporary postdramatic performances |
Abstract
PDF
|
Karen Jürs-Munby |
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