The first comprehensive account of the complex relations between legal process and performances. Through ten major principles of performance within law, it establishes how law itself is a performative mode of practice and reflects upon the co-dependence of law, performance and politics in celebrated works of theatre.
Walsh argues that there are many links between theatre and therapy when considering actor training, theatre in therapeutic contexts, and contemporary theatre and performance.
Theoretical and creative interventions into the presence of the animal and ideas of animality in performance.
Written part of a doctoral dissertation, presenting the artistic works (performances, live-art projects and works on video ) and setting them in a larger context. The research presents the transformation that has taken place starting from the industrialism and modernism.
Includes DVD. Catalogue for a conference in Vercelli and Turin in November 2010, Affective Archives. The catalogue gathers project documents, manifestos and contracts, open calls, addresses to the speakers and self-reflective essays, besides all the abstracts of papers and a selection of images gleaned from the spectatorial documentation that was specifically encouraged.
Trashing Performance Talks. Under- and Overwhelmed: Emotion and Performance (Part 1)- the second year of Performance Matters – 25-29th October 2011.
Part of Berlant’s groundbreaking “national sentimentality” project charting the emergence of the U.S. political sphere as an affective space of attachment and identification.
On Emil Hrvatin’s theatre work.
Part of Palgrave Mcmillan’s ‘small books on theatre and everything else’ series, co-edited by Jen Harvie and Dan Rebellato.
Performance Matters Performing Idea Dialogues,Toynbee Studios 04.10.10:Choreographer Jonathan Burrows and writer and curator Adrian Heathfield have developed a dialogue around the relationship between writing and dancing. They were interested in exploring the creative tension between the distinctive affects of embodied actions and spoken words, investigating their different roles in the making and receiving of meaning. They were fascinated by those moments of intensity – unforgettable yet unspeakable – where something of life is disclosed between sense and sensibility. What are the relative weights of gestures and words in a performance space? How can each open to the other? What place does music occupy in a negotiation between muted movements and sonorous words? What might be some principles of composition for a generative relation between creative writing and choreography?