PERFORMANCE RESEARCH

BED

SEMESTER

Beyond the Sewol

Black Rock

Molecular Identities

Everybody’s Song Making

Into the Mountain

Welcoming Voices

Theatricality and the Construction of ‘Skill’

Dead Animals

‘Do You Think Combat Pilots Have Haemorrhoids?’

Fugitive Dance

Compost and Air-conditioning: Beyond biospherical performance and towards the shimmer

Theatricalizing a Familial Archive

Becoming Doll

The Politics of (In)Decision

The Animation of Contemporary Subjectivity in Tino Sehgal’s Ann Lee

Embodying Senescence

Figure with Landscape

The Star of the Show

From the Sublime to the Ridiculous

Touch the Heart – Feel the Crash

I Want It to Go to a Good Home

#NeverLeaveTheDogBehind

Theatricalizing Protest: The chorus of the commons

Testimony of Corporal Print and Traceable Sediments after El puro lugar

Anthroposcenic Performance and the Need For ‘Deep Dramaturgy’

Documenting Disappearance

Anthropocentric Wreckages

Burning the Bull

Theatre of the Real with Resettled Refugees: Old problems and new solutions in The Baulkham Hills African Ladies Troupe

Postmodern wreckage in Kate McIntosh’s Worktable and Peter McMaster’s Gold Piece

Constructing Genealogies of Disobedient Performance

Art Museums and Audibility

Searching for the Perfect Welsh Mountain

The Miniature Object and the Living World

Moving Memory Dance Theatre Company

They Are All at Least Seventy

Tending the Flame

Shaming Age

Dismantling, Disappearing, Reconstituting?

This is (Not) the Ageing Body in Dance

Staging the Wreck of the Unbelievable: Performing ideology: Imaginary surplus, alienation and anxiety

Entangled Animisms

Musicolinguistic Approaches to the Study of Song

¿Dónde está Bruno?/Where is Bruno?