Performance Research Volume 22 Issue 8

On Leftovers

Issue editors: Susanne Foellmer & Richard Gough

ISSN: 1352-8165 (2017) 22:8

This issue asks about the consequences and specific modalities of leftovers in the performing and visual arts as well as in broader cultural and social contexts: What is the status of leftovers when, for example, being on display or being distributed otherwise after a performance? To what extent do they ‘help’ or rather ‘betray’ the attempts to write performing art’s history? What kind of impact does the integration of debris as art’s material have on the conception and reception of the artwork as such? And in what ways does a certain performative quality apply when it comes to the arrangement of leftovers other than working with ‘unused’ and ‘fresh’ material? What about the politicality of integrating leftovers into ‘newly’ done work? And how does the value of leftovers change when reintegrated into the consumer’s society? Those reflections also imply more general questions about the cultural status and value of leftovers in the social and political realm.

Before Left Over

Susanne Foellmer, Richard Gough

pp. 1 - 6

The Critical Power of the Residual

Barbara Formis

pp. 7 - 16

Broke Blokes : Performance scraps

Mark Greenwood

pp. 17 - 22

Recycling, Reinvesting and Revaluing : On immateriality in Sarah Vanhee’s Oblivion

Annelies Van Assche

pp. 23 - 30

What to Do with the Leftovers of the Arts Industry? : Recycling artists and theatrical policies in twenty-first century Barcelona, Spain

Ricard Gázquez

pp. 31 - 38

Theatrical Bubble and Squeak : The stage direction as leftover in eighteenth-century theatre

Miriam Handley

pp. 39 - 46

Black Space and Trauma Ruins : How do leftovers perform?

Dorota Sosnowska

pp. 47 - 55

What is Whose and Who is What?

Liam Francis

pp. 56 - 63

Lest We Vanish Into Meaning : (Philip Guston and the politics of trash)

Francisco Sousa Lobo

pp. 64 - 67

The Performance of Leftovers

Sarah Levinsky

pp. 68 - 76

On the Political Nature of Leftovers

Susanne Foellmer

pp. 77 - 85

Trophies Remain : The history of New Zealand resource extraction and the Meat Fence photo-project

Jonathan W. Marshall

pp. 86 - 98

Performing Leftovers : On the ecology of performance’s remains

Edward Whittall

pp. 99 - 106

Saved from the Scrapheap : Revealing the creative and ecological potential of societal leftovers in scenography

Tanja Beer

pp. 107 - 114

Agricultural Detritus and Artistic Practices : Reflections on animating heritage and reclaiming place-specific narratives

Ffion Jones

pp. 115 - 126

Ragpickers and Leftover Performances : Walter Benjamin’s philosophy of the historical leftover

Frederik Le Roy

pp. 127 - 134

To Be or Not to Be There : When the performer leaves the scene and makes room for the audience

Angela Viora

pp. 135 - 143

The Values of Leftovers in Dance Research

Hetty Blades, Rosemary E. Kostic Cisneros, Sarah Whatley

pp. 144 - 152

Notes on Contributors

pp. 153 - 154