In this introductory paper—which follows the course of the papers included in this special issue—we argue that there are currently four main apprehensions of performance. The first of those apprehensions is provided by the work of Judith Butler on performativity. We then move to a second apprehension—the rather more general notion of performance found in nonrepresentational theory, using as an example the work of Gilles Deleuze. The third apprehension of performance is that taken from work found in the discipline of performance itself. Then, the fourth apprehension concerns the reworking of academic practices as performative.

Dead Geographies—And How to Make Them Live

This bibliography is a continuation of and a complement to those published in the Urban History Yearbook 1974–91 and Urban History 1992–2002. The arrangement and format closely follows that of previous years. There is an index of towns on pp. 504–507. The list of abbreviations identifies only those periodicals from which articles cited this year have been taken.

https://www.cambridge.org/core/services/aop-cambridge-core/content/view/S0963926800011299

Current bibliography of urban history

On Leaves of grass

The past remains essential - and inescapable. A quarter-century after the publication of his classic account of man's attitudes to his past, David Lowenthal revisits how we celebrate, expunge, contest and domesticate the past to serve present needs. He shows how nostalgia and heritage now pervade every facet of public and popular culture. History embraces nature and the cosmos as well as humanity. The past is seen and touched and tasted and smelt as well as heard and read about. Empathy, re-enactment, memory and commemoration overwhelm traditional history. A unified past once certified by experts and reliant on written texts has become a fragmented, contested history forged by us all. New insights into history and memory, bias and objectivity, artefacts and monuments, identity and authenticity, and remorse and contrition, make this book once again the essential guide to the past that we inherit, reshape and bequeath to the future.

https://www.tandfonline.com/doi/pdf/10.1080/2325548X.2017.1315261

The Past Is a Foreign Country - Revisited

Mike Hulme, Why We Disagree about Climate Change: Understanding Controversy, Inaction and Opportunity (New York: Cambridge University Press, 2009), xxxix + 392 pp. $80.00 (cloth), $29.99 (paper). S...

Why We Disagree about Climate Change: Understanding Controversy, Inaction and Opportunity

The Politics of Performance^ addresses fundamental questions about the social and political purposes of performance through an investigation into post-war alternative and community theatre. It proposes a theory of performace as ideological transaction, cultural intervention and community action, which is used to illuminate the potential social and political effects of radical performance practice. It raises issues about the nature of alternative theatre as a movement and the aesthetics of its styles of production, especially in relation to progressive counter-cultural formations. It analyses in detail the work of key practitioners in socially engaged theatre during four decades, setting each in the context of social, political and cultural history and focusing particularly on how they used that context to enhance the potential efficacy of their productions. The book is thus a detailed analysis of oppositional theatre as radical cultural practice in its various efforts to subvert the status quo. Its purpose is to raise the profile of these approaches to performance by proposing, and demonstrating how they may have had a significant impact on social and political history.

The Politics of Performance : Radical Theatre as Cultural Intervention

The Radical in Performance investigates the crisis in contemporary theatre, and celebrates the subversive in performance. It is the first full-length study to explore the link between a western theatre which, says Kershaw, is largely outdated and the blossoming of postmodern performance, much of which has a genuinely radical edge. In staying focused on the period between Brecht and Baudrillard, modernity and postmodernism, Baz Kershaw identifies crucial resources for the revitalisation of the radical across a wide spectrum of cultural practices. This is a timely, necessary and rigorous book. It will be a compelling read for anyone searching for a critical catalyst for new ways of viewing and practising cultural politics.

The Radical in Performance: Between Brecht and Baudrillard

Acknowledgements List of Figures Introduction: doing methods creatively, Baz Kershaw and Helen Nicholson 1: The imperative of the archive: creative archive research, Maggie Gale and Ann Featherstone 2: Researching digital performance: virtual practices, Steve Dixon 3: Practice as research: trans-disciplinary innovation in action Baz Kershaw, with Lee Miller and 'Bob' Whalley, Rosemary Lee and Niki Pollard 4: Researching Theatre History and Historiography, Jim Davis, Katie Normington, Gilli Bush-Bailey with Jacky Bratton 5: Researching Scenography, Joslin McKinney and Helen Iball 6: Performer training: researching practice in the theatre laboratory, Jonathan Pitches, Simon Murray. Helen Poynor and Libby Worth, David Richmond and Jules Dorey Richmond 7: The question of documentation: creative strategies in performative research, Adam J. Ledger, with Simon K. Ellis and Fiona Wright 8: The usefulness of mess: artistry, improvisation and decomposition in the practice of research in applied theatre, Jenny Hughes, with Jenny Kidd and Catherine McNamara 9: Researching the body in/as performance, Jennifer Parker-Starbuck and Roberta Mock Notes on Contributors Index.

Research Methods in Theatre and Performance

What are the challenges to theatre and the purposes of performance in an ecologically threatened world? How might ecological understandings refigure the interactions of theatre and performance? Is there a future for theatre as an ethically and politically alert art through environmental action? Theatre Ecology gets to grips with such questions by investigating an eclectic international sample of environments and performance events, in theatres and beyond. It proposes that performance is a peculiarly twenty-first century addiction which may be at the root of global warming. Addressing this possibility head-on, it reaches for pathological hope in historical theatre at the end of its tether and rumbles the contemporary paradigm of performance for signs of eco-sanity. Recognising the future is always before its time, Theatre Ecology is a paradoxically ironic tract for survival at the start of a fresh ecological era.

Theatre Ecology: Environments and Performance Events

In January 1983, two leading liberals, one American one English, shared a stage of the National Theatre in London. The American, J. K. Galbraith, one of the world's great economists, was here to lecture on "Economics and the Arts," a gesture which was generously aiming to reinforce the political hand of the Englishman. This was Sir Roy Shaw, champion of equal educational opportunity for all, advocate of the democratization of culture, and currently?as the then Secretary-General of the Arts Council of Great Britain?the most powerful arts mandarin in the land. Galbraith's argument, as usual, was urbane, subtle and marked by the kind of modesty that only international celebrity provides. He spoke of the interdependency of economics and the arts, of the responsibility of artists to speak out on matters concerning the national wealth as well as the national health, of artistic achievement as essential to industrial development. The underlying theme of the lecture was the need for a mutually respectful partnership between cultural producers and money makers, between creative artists and business people. This meant eliminating the traditional suspicions shared by the two sides, which in turn implied a recognition of equality of knowledge and expertise. And to prove the point by example, in a characteristically self-effacing gesture, the American visitor paid a cheerfully oblique and, in this particular year,

https://www.jstor.org/stable/pdfplus/25068676.pdf

Baz Kershaw

Papers

The Politics of Performance : Radical Theatre as Cultural Intervention

The Radical in Performance: Between Brecht and Baudrillard

Research Methods in Theatre and Performance

Theatre Ecology: Environments and Performance Events

Discouraging Democracy: British Theatres and Economics, 1979-1999