Editorial, Winter 2024

An audio piece drawn from Farah Saleh’s performance Balfour Reparations, which imagines counterfutures for Palestine.

An examination of artist Miranda Whall’s When Earth Speaks: A Dirty Ensemble, which reimagines an alternative relationship with environmental data.

In this dialogue, Last Minute Live Arts’s Gao Shuyi and Bill Aitchison explore what it means to be radical in making performance art in China and the UK.

Kerry Priest reflects on the platform SOAK Live Art, situated in Plymouth, Devon, southwest UK

Violet Vincent McLean reflects on Nocturnal, a live art scratch night in Glasgow co-founded with Corvis Oleander in 2019.

An account by Marcus Bell of the 25th anniversary of Home Live Art, where five queer artists and their collaborators reflected on live art as a practice of gathering, collision and transformation.

In this evocative article with accompanying audio piece, Nicol Parkinson explores the use of sound recording as a documentary technology for live art.

Editorial, Winter 2023

Hongwei Bao imagines an evocative monologue for the fictional clerk Hu Tianbao, who appears in a short story of Qing Dynasty Chinese scholar Yuan Mei

Hongwei Bao problematises the umbrella term of “drag” by discussing two categories of drag in contemporary China: fanchuan and bianzhuang.

The performance text for Andrew Sutherland’s Swan Twink subversively uses the iconic, almost mythical, status of the classic Swan Lake to create a queerly intimate, personal and vulnerable performance.

Lighting designer Emma Lockhart-Wilson posits strategies of subversion, fluidity and drawing attention to bodily labour as ways to explore queerness in three performances.

Ibrahim Halaçoglu’s decolonial performative text invokes the idea of the meddah, or a traditional storyteller and mimic, for a self-reflexive critical monologue on migration, freedom and identity.

Gemma Hutton and Greg Thorpe, interviewed by Alyson Campbell, Meta Cohen and Stephen Farrier.

Editorial, Spring 2022

Isabel Stuart writes about redaction as a dramatic technique and a theatrical tool for critique in Lucy Kirkwood’s Maryland (2021).

Tia-Monique Uzor considers the link between dance and water as she reflects on her personal experiences and her work in Katherine Dunham’s archive as spaces where the past, present and future collide.

Aline Hernández’s essay argues that re-enactments of feminicide photography in Mexico disrupt necropolitical operations by performing an aesthetics of critical redaction.

Postscript: Melissa Poll on Equity and Inclusion Dramaturgy