(2020). Editorial. Performance Research: Vol. 25, Practices of Interweaving, pp. 1-10.

(2020). “I want to blur that sense of identity and I wanted to do that with the museum”. Performance Research: Vol. 25, Practices of Interweaving, pp. 11-23.

(2020). Canvases and Frames. Performance Research: Vol. 25, Practices of Interweaving, pp. 24-31.

(2020). Braiding with Time. Performance Research: Vol. 25, Practices of Interweaving, pp. 33-43.

(2020). It’s All One Family. Performance Research: Vol. 25, Practices of Interweaving, pp. 44-49.

(2020). Sitting With My Legs Crossed–Unfolding. Performance Research: Vol. 25, Practices of Interweaving, pp. 50-57.

(2020). If the Shoe Fits … Wear It! Performance Research: Vol. 25, Practices of Interweaving, pp. 58-65.

(2020). Extravagantly Enigmatic. Performance Research: Vol. 25, Practices of Interweaving, pp. 66-78.

(2020). Creating Nothing. Performance Research: Vol. 25, Practices of Interweaving, pp. 79-88.

(2020). Kaṭṭaikkūttu’s Performance Spaces. Performance Research: Vol. 25, Practices of Interweaving, pp. 89-107.

(2020). Advaita Vedanta and Qi Gong. Performance Research: Vol. 25, Practices of Interweaving, pp. 108-111.

(2020). Difficult Dialogue Between Artists and Academics/Scholars. Performance Research: Vol. 25, Practices of Interweaving, pp. 112-123.

(2020). Touch Me, If You Want. Performance Research: Vol. 25, Practices of Interweaving, pp. 124-129.

Tamer Yigit is a Berlin-based musician, actor, film director and theatre maker. His connection with the Research Center ‘Interweaving Performance Cultures’ started with a few invitations to come talk about his work. In turn, he invited a group of Fellows to a sightseeing tour of ‘his Berlin’. In 2018, his production Berlin-DNA, for which Christel Weiler assisted as dramaturgical advisor, premiered

(2020). Live Transference on Stage as the Creation of a New Type of Performer. Performance Research: Vol. 25, Practices of Interweaving, pp. 136-141.

(2020). (In)Tending to Provoke. Performance Research: Vol. 25, Practices of Interweaving, pp. 142-146.

This interview took place in January 2019, a few months after the shocking election victory of Brazil’s new president, Jair Bolsonaro, at the end of October 2018. Ismael Ivo – Brazilian dancer, choreographer, for many years head of the dance section of the Venice Biennale and founder of today’s largest European dance festival ImPulsTanz in Vienna– went back to Brazil in 2017 as the new Director of

(2020). What is Vodun? Performance Research: Vol. 25, Practices of Interweaving, pp. 159-164.

(2020). Towards Anamnestic Art. Performance Research: Vol. 25, Practices of Interweaving, pp. 165-174.

(2020). Allowing the Sacred to Appear. Performance Research: Vol. 25, Practices of Interweaving, pp. 175-183.

(2020). New Every Day. Performance Research: Vol. 25, Practices of Interweaving, pp. 184-191.

(2020). Guts ’n’ Brains. Performance Research: Vol. 25, Practices of Interweaving, pp. 192-195.

This interview was held on 15 April 2019 at SAVVY Contemporary in Berlin – an art space, a platform for discourse and a meeting place for good conversations, food and drink founded in 2009 by Dr Bonaventure Soh Bejeng Ndikung as a place of communal hospitality.11 See SAVVY Contemporary website https://bit.ly/3qkG1MG The organization has since moved to new premises, a former casino, also in the district

(2020). Interweaving Performance Cultures. Performance Research: Vol. 25, Practices of Interweaving, pp. 204-213.

(2020). Singing the Future Now. Performance Research: Vol. 25, Practices of Interweaving, pp. 214-220.

This conversation was held on 19 February 2020 at the International Research Center ‘Interweaving Performance Cultures’ in Berlin shortly after Nanako Nakajima’s final presentation of her Valeska Gert Professorship. 11 The Valeska Gert Visiting Professorship is hosted in collaboration with the Institute of Theater Studies at Freie Universitat Berlin, the German Academic Exchange Service and the Akademie

(2020). In Praise of Bastards. Performance Research: Vol. 25, Practices of Interweaving, pp. 240-242.

(2020). Catastrophe/Catharsis of Creative Process and Unknown Journey. Performance Research: Vol. 25, Practices of Interweaving, pp. 243-251.

(2020). Distant Interweaving, Close Knots. Performance Research: Vol. 25, Practices of Interweaving, pp. 252-256.

(2020). Intercultural Listening. Performance Research: Vol. 25, Practices of Interweaving, pp. 257-262.

(2020). Interweaving as a living theatre practice. Performance Research: Vol. 25, Practices of Interweaving, pp. 263-271.

(2020). ‘Persian Hippolyte’. Performance Research: Vol. 25, Practices of Interweaving, pp. 282-288.

(2020). Performing Change. Performance Research: Vol. 25, Practices of Interweaving, pp. 289-293.

(2020). I Had Fun Fearing Cockroaches. Performance Research: Vol. 25, Practices of Interweaving, pp. 294-299.

ABSTRACT Performance Research Book’s book, Absolute Rhythm: Works for minor radio, collects ten of my radiophonic scripts written and broadcast in Australia mainly between 1986 and 1998. This article describes the cultural milieu in which they emerged. It argues that an upsurge of interest in a migrant writing that went ‘beyond the echo’ of Anglo-Australian writing coincided with a proliferation of

(2020). The Forme of Cury. Performance Research: Vol. 25, Practices of Interweaving, pp. 310-340.

(2020). White Shadows on Contemporary African Performance. Performance Research: Vol. 25, Practices of Interweaving, pp. 341-342.

(2020). Festivilization of Cultures. Performance Research: Vol. 25, Practices of Interweaving, pp. 342-343.

(2020). Notes on Contributors. Performance Research: Vol. 25, Practices of Interweaving, pp. 344-346.

(2020). Diffraction for Performance Research. Performance Research: Vol. 25, On Diffraction, pp. 1-3.

This article argues that diffraction sits at the heart of the affective experience of being in audience. By combining affect theory, new materialism and feminist psychoanalysis, I establish diffraction as a metaphor for grappling with the unnameable 'in-between' of affect and performance, and use performative writing to illustrate the intra-active affective attachments that are formed – only to dissolve

When conceptualizing futures and new ways of working within and beyond the field of performance studies, diffractive methods suggest new orientations to a ‘more subtle vision’ (Haraway 1992 Haraway, Donna J. (1992) ‘The promises of monsters: A regenerative politics for inappropriate/d Others’, in Lawrence Grossberg, Cary Nelson and Paula Treichler (eds) Cultural Studies, New York: Routledge, pp. 295–337

In this essay, I conceptualize the material nature of theatrical atmospheres as interobjective phenomena, emerging from and through objects as collaborative events. I apply Karen Barad’s concept of “intra-action” to consider the ways in which the atmosphere is produced by and producing entangled agencies, and to consider the implications of this collaborative nature on notions of human agency and causality

The stumbling matters in question here are the embedded results of the art project Stolpersteine ('stumbling blocks'), instigated by the Cologne artist Günther Demnig (2020). The stumbling blocks are small squares of concrete, 10 by 10 centimetres, covered with a brass plate and installed in the pavement in front of the last address of particular victims persecuted or murdered by the Nazi regime between

Inspired by Karen Barad’s understanding of diffraction as a methodology and experiments in moving across time and space with diffraction I will in this text experiment with diffraction as a method for performance. On the one hand I will understand diffraction as reading images and texts diffractively, through one another, and on the other hand I will link diffraction to the tradition of artistic cut-up

(2020). The Diffraction of Cells: Places to (Mis)carry. Performance Research: Vol. 25, On Diffraction, pp. 39-44.

The Institute for Relocation of Biodiversity (IRB) is an artistic research agency that speculates on possible multispecies futures. IRB conducts trans-disciplinary "field work" that reflects on interspecies relations, questions the intentionality of evolution and speculates on the (im)possibility of intra-and inter-species communication. Rather than showing solutions, it addresses the complexity of

Diffraction, as defined by Karen Barad, functions as a means of reframing corporeal-machinic relations through performance, as made evident through the examination of works by Joan Jonas, Pipolotti Rist, and myself, EL Putnam. Specifically, in this paper, I consider the practices of artists who bring together moving image and performance in a manner that draws attention to the material properties of

This article engages with North-American choreographer Trajal Harrell's interrogation of the relationship between performed histories, presents and futures. Working with the new materialist concept of diffraction, it examines how his choreographies engage with crucial questions surrounding racial politics and the construction of history, arguing that his works are performative and imaginative enactments

This article provides a diffractive reading of three phenomena to produce meanings: the popular Netflix series Stranger Things (seasons 1-3), promenade theatre company Secret Cinema’s 2019 performance of Stranger Things, and Karen Barad’s 2015 article ‘TransMaterialities: Trans*/matter/realities and queer political imaginings’. The article examines Karen Barad’s notion of touch and touching through

Feminism and Physics underpin the theory of Diffraction. Re-turning as a multiplicity of processes is central to the work of diffractive theorists like Karen Barad and Donna J. Haraway. This paper explores diffraction from the perspective of the dancing and performing body, using as a case study Vertical Dance Kate Lawrence’s (VDKL) Yn y Golau/In-visible Light (YYG). Diffractive principles inspired

everything that rises must dance (2018) is a dance performance produced by Complicite, premiered as part of Dance Umbrella Festival and created by choreographer Sasha Milavic Davies, composer Lucy Railton, dance artists Antigone Avdi, Makiko Aoyama, Amanda Dufour, Valentina Formenti, Jennifer Irons, Camilla Isola, Ciara Lynch, Gabrielle Nimo, Claudia Palazzo and Inês Pinheiro and 200 volunteer performers

By referring to the philosophies of Izutsu Toshihiko, the article argues that it is often the case that the profiling of difference increases the sense of isolation experienced by the very people the practice intends to help, and thus intensifies the number of micro-opponents even among peers. This was precisely the case in Aichi Triennale 2019, a Japanese interdisciplinary art festival financially

While equality, inclusivity, diversity and accessibility now regularly appear in mainstream discourse, the UK’s Equality Act (2010) paradoxically preceded a year-on-year increase in recorded cases of hate crime and discrimination based on protected characteristics such as (perceived) gender identity, sexuality and disability (Home Office 2019). A hostile environment is manifest through the ongoing

Diffracting Virtual Realities: Towards an anti-theatre of VR offers a short manifesto for a diffracted, critical virtuality and for wider technological and related pedagogic practices, ones which eschew over determination and simplistic empathy rhetoric. The paper, or rather, manifesto, proposes, instead, a deliberately artificial VR, with a purposeful strategy of diffractive observation and commentary

This article explores how aspects of posthuman theory, and in particular diffraction as theorised by Haraway and then Barad, can be used by theatre makers to develop the practice of being and making in company at this current moment in time. I begin with an analysis of the ways stories (including stories within plays) are shared in the rehearsal room. When framed as a diffractive practice that allows

The backdrop for our performance is the entanglement of humans and their microbes. In detail we explore the relation between human-centered language and microbes, aiming to give their relationship more meaning and structure. The performance itself unfolds as an entanglement between the researcher, the research objects and the method of investigation. Oral microbes transgress the boundaries between

This piece of writing acts as a practice statement of sorts—one through which I attempt to find an alternative foundation for creativity and practice by making sense of the materiality of bodies in search of an embodied position. This writing invites readers to (re)search for ways we can imagine participatory futures and shape alternative worlds from the ashes of the present. The text speaks through

Throughout this article we have transplanted passages from Karen Barad and Jean-Luc Nancy, threading their voices through one another and with our own, such that we remain responsible for our re/configuration of these estranged articulations. With reference to our ongoing use of heart rate sensors in choreography and composition, as well as our practice of Relational Listening, we foreground the metaphors

(2020). Web-Dance’s Era of Ecstasy. Performance Research: Vol. 25, On Diffraction, pp. 143-144.