By N. Shaughnessy
This e-book attracts upon cognitive and have an effect on thought to check functions of up to date functionality practices in academic, social and group contexts. The writing is located within the areas among making and function, exploring the strategies of making paintings outlined variously as collaborative, participatory and socially engaged.
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Additional resources for Applying Performance: Live Art, Socially Engaged Theatre and Affective Practice
Moreover, as Denzin reminds us, we need to be mindful of Judith Butler’s assertion that 30 Histories and Contexts ‘every performance is an original and an imitation’ (10). Theatre’s ‘double’, to use Artaud’s terminology, is self-reflexive; thus, reflects Denzin, ‘even the imitation is an original, a transgression. Further, every performance becomes a form of kinesis, of motion, a decentering of agency and person through movement, disruption, action, a way of questioning the status quo’ (Denzin 2003b: 20).
This involves seven principles, otherwise known as the seven ‘p’s and these proved helpful in relation to the questions I identified concerning the role and function of the practices I defined as ‘applied performance’. Practitioners were invited to respond to the categories and identified their work in relation to the principles. These are presented as inductive rather than prescriptive, while they also engage in dialogue as part of the weaving of mind, body, world involved in cognition and participatory performance.
For theatre practitioners, concerns about the passivity and object status of the ‘other’ as the recipient of TfD interventions is made more problematic by practices which involve ‘trained’ actors ‘directing’ indigenous communities. Such ‘development’ activities are ideologically problematic, perpetuating the ethnocentric values of the funders. The critique of interventionist practices, however, can run the risk of becoming self-defeating as Sheila Preston cautions: ‘there is an argument that, because the dominant development discourse and its colonial history is inherently problematic, operating within this paradigm is inevitably so’ (Preston, 2007: 229).