Volume 26 Issue 5
Issue editors: Jan Kühne & Freddie Rokem
Publication date: 15 February 2022
Suddenly, the topic of the research laboratory for theory and practice in performance that had been active daily for three months at the Israeli Institute for Advanced Studies in Jerusalem, became a global reality. In October 2019, a group of researchers and artists began investigating the notion of Interruptions expressed in artistic creativity and in works of art as well as through reflection and academic research in aesthetics, performance theory and poetics. And in January 2020, as we held the symposium summarizing the initial findings of this project, we did not yet know anything about the pandemic, which is still—now, a year and a half later—a central feature of our everyday realities. This issue of PR, with its thirty contributions by scholars and artists from the initial research laboratory (which focused on the work and thinking of Franz Kafka, Walter Benjamin and Bertolt Brecht) as well as the ‘newcomers’ from the local (Israeli) and international communities, considers the notion of Interruptions in/of performance in a broad range of historical, theoretical and political contexts.
Volume 26 Issue 6
Issue editors: Peter Eckersall & Helen Grehan
Publication date: 28 February 2022
This issue of Performance Research explores the act of repair as it pertains to the broken systems, people and things that we see and experience, and that we break every day. ‘On Repair’ was made during the global Covid-19 pandemic and, as such, it explores the ways in which this pandemic has accelerated and made visible so many lifeforms and things that are on their last legs, patched over, stretched too thinly or just not given a fair go. Most things, it would appear, seem to be broken in fundamental ways and our institutions, knowledge systems, human relations and the overarching ecosphere are all in urgent need of repair. This issue considers how performance, creativity and the imagination work as a means of repair. Contributors explore what modes of performance dramaturgy and performance criticism are relevant now as ways to rehabilitate and repair the human.
The Japanese technique of kintsugi—repairing broken objects with filaments of precious metal—reflects close attention to detail, to the minutiae and to an act of repair that enhances the original. This practice is a hopeful one. It teaches us that the human and non-human worlds alike need mending and deep care. Ultimately, this issue explores the act of repair as an act of care. Our aim is to show how artists and thinkers can do this, especially now, when the need for repair is paramount.