scispace - formally typeset
Search or ask a question
Author

Fiona Wilkie

Bio: Fiona Wilkie is an academic researcher. The author has an hindex of 2, co-authored 2 publications receiving 83 citations.

Papers
More filters
Journal ArticleDOI
TL;DR: Focusing on a survey of British practitioners conducted between November 2000 and December 2001, Wilkie as mentioned in this paper explores the implications of such generalizations as can be made about the types of performance site chosen, the effects of funding policy on the character of work being made, the possibilities for identifying a site-specific audience, and the debates surrounding the terminology itself.
Abstract: Who is producing site-specific performance in Britain? Who sees it? Where do these performances occur, or, more particularly, ‘take place’? What tools are used to construct a performance of place? Why is the site-specific mode chosen? And, crucially, how is it variously defined? Drawing on a survey of British practitioners conducted between November 2000 and December 2001, Fiona Wilkie sets out to explore these questions. While pointing to the wide variety of practices that might be delineated by the term ‘site-specific’, she analyzes the implications of such generalizations as can be made – about the types of performance site chosen, the effects of funding policy on the character of work being made, the possibilities for identifying a ‘site-specific’ audience, and the debates surrounding the terminology itself. Fiona Wilkie is currently completing a PhD at the University of Surrey, on which this article is based, which aims to develop a theoretical model for site-specific performance, with particular reference to the spectatorial role.

61 citations

Journal ArticleDOI
TL;DR: In this paper, a survey of site-specific performance companies and their understanding of their work and its circumscriptions in NTQ70 is presented, where the authors suggest that places as such can be characterized in terms of differing sets of rules in dialogue with one another.
Abstract: Following her survey of site-specific performance companies and their understanding of their work and its circumscriptions in NTQ70, Fiona Wilkie here proposes that places as such can be characterized in terms of differing sets of rules in dialogue with one another. She examines one place in particular in order to suggest some principles for approaching site-specific performance. Various spatial experiences – visual, physical, and mythical – are read through a range of attempts to theorize our relationships with space (including Foucault's heterotopia and de Certeau's pedestrian tactics). Moving away from more mundane examples of site ‘dos’ and ‘don'ts’, Fiona Wilkie expands the notion of spatial rules to develop two related concepts – the repertoire and the inner rule – that offer complex ways of imagining and articulating the rule-bound site. Finally, she suggests that site-specific performance meanings emerge out of a process of negotiation between three sets of rules: those of the site, the performance, and the spectators. Fiona Wilkie is currently completing a PhD thesis (provisionally entitled Constructing Meaning/Performing Place: Site-Specific Performance in Contemporary Britain) at the University of Surrey, from which article is drawn.

26 citations


Cited by
More filters
Journal ArticleDOI
TL;DR: This paper paid for postmodern geographies the reassertion of space in critical social theory 2 second edition radical thinkers and numerous books collections from fictions to scientific research in any way.

1,038 citations

Book
01 Jan 2008
TL;DR: Theories of theatre 1: Historical paradigms 5 Theory of theatre 2: Systematic and critical approaches 6. Theatre Historiography 7. Text and performance 8. Performance analysis 9. Music theatre 10. Applied theatre 11. Theatre Studies between Disciplines as mentioned in this paper 12.
Abstract: Preface Introduction: theatre and theatre studies Part I. Elements of Theatre: 1. Performers and actors 2. Spectators and audiences 3. Spaces and places Part II. Subjects and Methods: 4. Theories of theatre 1: Historical paradigms 5 Theories of theatre 2: Systematic and critical approaches 6. Theatre historiography 7. Text and performance 8. Performance analysis 9. Music theatre 10. Dance theatre Part III. Theatre Studies between Disciplines: 11. Applied theatre 12. Theatre and media.

94 citations

Journal ArticleDOI
Abstract: son are asked about how they work together and the relation of their work to Wales (79, 83, 87); and the co-founder of Edinburgh's Communicado Theatre Company, Gerry Mulgrew, is asked about the relevance of Scotland to his work (105). On the other hand, the interviewers do not substantially explore the specificities of directing physical theatre with DV8 Physical Theatre artistic director Lloyd Newson, nor of directing movement and/or opera with Second Stride artistic director and sometime Caryl Churchill collaborator Ian Spink, nor of using the linguistic hybrid 'binglish' with Tara Arts director Jatinder Verma. The final methodological question I would have liked to see the authors of this collection address more explicitly is how they selected their interviewees. In many ways, the range of selection is good, encompassing directors from theatre-dense London but also from regional theatres and from Scotland, Wales, and Ireland; directors who do text-based work, but also those who do physical theatre, movement, and devised theatre; and directors representing some range of gender, ethnicity, and abil ity. Alongside the women directors already mentioned, Phyllida Lloyd, Julia Pascal , and Deborah Warner are also interviewed. However, more explicit commentary on methodological approach to selection and interviewing would have further helped to describe the work of these directors and the work of contemporary theatre practice in Britain more generally. As well, more explicit commentary on why directing is the focus of the book would have usefully addressed John Fox 's challenge and contextualized Peter Brook 's rather mystical and mystifying foreword. Of its kind, this is a useful book, both because it brings a particular, broad range of directors to consideration and because, in some respects, it indicates how this kind of book can provide insight into contemporary theatre practice more broadly.

62 citations

Journal ArticleDOI
TL;DR: The performing arts of dance, theatre, music and live art have become established means through which cultural geographers can examine how people experience and make sense of their everyday worlds as discussed by the authors.
Abstract: The performing arts of dance, theatre, music and live art have become established means through which cultural geographers can examine how people experience and make sense of their everyday worlds. Simultaneously, performance theorists and practitioners increasingly seek geographical tools that help elucidate the broader processes or politics that underpin artistic genres of performance. This review article works at this interdisciplinary nexus, exploring the diverse areas of engagement between geography and the performing arts. It provides an overview of three spatialities around which interdisciplinary exchanges take place, and where there are interesting synergies in the conceptual approach to studying geographies of performance, namely: landscapes, places and cities. In so doing, the article outlines some avenues where geography and performance studies academics might further their mutual interests, and argues that geography is central to the constitution, meaning and form that performance works take.

41 citations

Book
01 Jan 2007
TL;DR: In this paper, a distinguished group of artists, curators, and writers probe the changing face of curating in dance, the visual arts, film, and writing, exploring cutting-edge developments in electronic art, art/science collaboration, non-gallery spaces, and "virtual" fields.
Abstract: To stay relevant, art curators must keep up with the rapid pace of technological innovation as well as the aesthetic tastes of fickle critics and an ever-expanding circle of cultural arbiters. Issues in Curating Contemporary Art and Performanceargues that, despite these daily pressures, good curating work also requires more theoretical attention. In this groundbreaking volume, a distinguished group of artists, curators, and writers probe the changing face of curating in dance, the visual arts, film, and writing. They explore cutting-edge developments in electronic art, art/science collaboration, non-gallery spaces, and "virtual" fields in this essential read for scholars, curators, and art enthusiasts alike.

39 citations