In this posthumanist performance essay, I consult Indigenous and Western ontologies to guide my fieldwork as a part of the Chaco Canyon landscape. In doing so, I test recent theories about object ...performance, which reveal a vibrant and vital path forward for theorizing about possibilities for conceptualizing about what and who performs in performance studies.
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Performers are exposed to embodied characterization techniques embedded within their training that makes the transference of these concepts comfortable to integrate into external performance modes ...such as puppetry. So too do performing objects require a nuanced approach towards their performances being equated to characters' expressions. However, technicians are expected to programme such mechanical performing objects with equivalent anthropomorphised agency, often without insight into embodied characterization. This paper explores the development and early validation of a pragmatic tool to assess and apply agency to performing objects. The degree of agency tool employs Affect theory to understand the process of anthropomorphisation. The degree of agency tool is designed to measure the degree of agency expressed by an operated performing object to avoid soulless mechanical performance. We argue that the tool includes an exploration of affect, emotion, anthropomorphisation, and non-verbal communication. As an outcome, the design research process reveals that these topics form the groundwork for the development of the degree of agency tool.
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This article locates costume, an almost non-existent area of theatre studies scholarship, at the centre of enquiry as a new perspective from which historical performance can be viewed. Focusing on ...Victorian clown costume, it case studies the jacket worn by Charlie Keith (1836-1895). It proposes that purely text-based historiography overlooks the material costume, shaped by the performance context, and that arguably shapes the performance itself. This article proposes a methodology of enquiry based on analysing costume as a material, performative object, to begin to define the history of its own discipline away from the margins it currently occupies. Its aesthetics materialize through performance within a socio-political, economical and cultural context. Recognizably codified in elements of design, these embodied aesthetics mediate the interface between performer and audience. Through this, the persistence of certain genealogies of ideas embodied in costume is revealed as implicitly instrumental in the survival of specific performance practices.
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