{"id":8480,"date":"2012-05-31T15:29:00","date_gmt":"2012-05-31T13:29:00","guid":{"rendered":"https:\/\/blog.uclm.es\/archivoartea\/?p=8480"},"modified":"2026-03-02T15:37:12","modified_gmt":"2026-03-02T14:37:12","slug":"trans-formative-performance-living-further-realities","status":"publish","type":"post","link":"https:\/\/blog.uclm.es\/archivoartea\/2012\/05\/31\/trans-formative-performance-living-further-realities\/","title":{"rendered":"Trans-formative performance: living further realities"},"content":{"rendered":"\n

Esther Belvis Pons<\/a><\/h4>\n\n\n\n

Universidad de Barcelona \/ University of Warwick (UK). Facultad de Ciencias de la Educacion \/ Department of Theater, Performance and Cultural Policies. Univ. of Warwick, 31\/05\/2012<\/p>\n\n\n\n

Direcci\u00f3n: Jos\u00e9 A. S\u00e1nchez<\/a> y Bar Kershaw<\/p>\n\n\n\n

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Descargar<\/a><\/div>\n<\/div>\n\n\n\n

This thesis studies the relationship between human bodies and theatrical
events through selected European examples of the emergence of transformative \u2018inbetween\u2019 experimental performance in the early 21th century. It aims to explore the nature of participatory practices and their attributes. How does the theatrical event interact with the everyday and its theatricality creating \u2018embodied\u2019 experiences?
What are the attributes and the implications of the relationships that emerge
through this bodily engagement? The study questions emergent relational
parameters of the theatrical experience in order to explicate its affects and effects in the bodies of participants, whether professional artists, skilled amateur
practitioners, theatre\/performance researchers, and accidental or intentional
audiences and spectators.
Its investigation challenges the (im)possibilities of performance knowledge
through an experimental method based on a practice-as-research approach. The
introductory chapter aims to facilitate understandings of the operational conditions
through which the \u2018embodied\u2019 is materialized in theatrical performance. The
conditions, are named as \u2018nomadism\u2019, \u2018net-gaming\u2019 and \u2018transductions\u2019, and are
drawn respectively from the theories and method of Gilles Deleuze and F\u00e9lix
Guattari, Bruno Latour and John McKenzie. In unfolding these operational conditions significant \u2018ecological\u2019, social, political, geographical concerns are identified as critical to how the thesis accounts for key elements of current experimental theatrical performance.
The rest of its chapters examine three productions of the international
touring companies Roger Bernat (Barcelona), Stan\u2019s Cafe (Birmingham) and Rimini
Protokoll (Berlin). Each chapter examines different specific yet comparable aspects of their participatory theatre\/performance methods \u2013 namely: expectations, time,
atmosphere, labour, and transformation \u2013 a thorough writing that is metaphorical,
analytical and performative. Metaphors evoke the \u2018common\u2019, they interlace bodily
expectations and they trigger the sense of the fleeting experience, establishing a
shared sphere between the shows, the audiences and the researcher, immersing the reader in the theatrical events. Thus the thesis aims to present the significance of the ungraspable in participatory experimental performance, paradoxically because only in its evanescent in-betweeness might the \u2018embodied\u2019 be envisioned.<\/p>\n\n\n\n