Making Routes : Relational journeys in contemporary performance. / Overend, David.

In: Studies in Theatre and Performance, Vol. 33, No. 3, 2013, p. 365-381.

Research output: Contribution to journalArticlepeer-review

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Making Routes : Relational journeys in contemporary performance. / Overend, David.

In: Studies in Theatre and Performance, Vol. 33, No. 3, 2013, p. 365-381.

Research output: Contribution to journalArticlepeer-review

Harvard

Overend, D 2013, 'Making Routes: Relational journeys in contemporary performance', Studies in Theatre and Performance, vol. 33, no. 3, pp. 365-381. https://doi.org/10.1386/stap.33.3.365_1

APA

Vancouver

Author

Overend, David. / Making Routes : Relational journeys in contemporary performance. In: Studies in Theatre and Performance. 2013 ; Vol. 33, No. 3. pp. 365-381.

BibTeX

@article{89dd844df87c434c9dc5c12ee3b0c598,
title = "Making Routes: Relational journeys in contemporary performance",
abstract = "Exploring an emerging trend in contemporary theatre and performance to utilize and respond to journeys and travel, this article focuses on Hitch by Kieran Hurley and The Boat Project by Lone Twin. As with many journey-based performances, these examples share a concern with meeting people and building meaningful relationships with different communities. As such, they are understood within the context of Nicolas Bourriaud's influential model of {\textquoteleft}relational aesthetics{\textquoteright}, which was developed towards the end of the twentieth century. Responding to an increasingly globalized version of modernity, Bourriaud has since responded to shifts in the field of relational art, tracing its evolution as {\textquoteleft}a site of navigation, a portal, a generator of activities{\textquoteright} that connects to an expanded, global relational realm. This article argues that a wide range of contemporary performance practice uses the journey form as a conduit for a new type of social engagement with space and place that develops the concerns of the site-based relational artworks and performances of the 1990s.",
author = "David Overend",
year = "2013",
doi = "10.1386/stap.33.3.365_1",
language = "English",
volume = "33",
pages = "365--381",
journal = "Studies in Theatre and Performance",
issn = "1468-2761",
publisher = "Intellect Books",
number = "3",

}

RIS

TY - JOUR

T1 - Making Routes

T2 - Relational journeys in contemporary performance

AU - Overend, David

PY - 2013

Y1 - 2013

N2 - Exploring an emerging trend in contemporary theatre and performance to utilize and respond to journeys and travel, this article focuses on Hitch by Kieran Hurley and The Boat Project by Lone Twin. As with many journey-based performances, these examples share a concern with meeting people and building meaningful relationships with different communities. As such, they are understood within the context of Nicolas Bourriaud's influential model of ‘relational aesthetics’, which was developed towards the end of the twentieth century. Responding to an increasingly globalized version of modernity, Bourriaud has since responded to shifts in the field of relational art, tracing its evolution as ‘a site of navigation, a portal, a generator of activities’ that connects to an expanded, global relational realm. This article argues that a wide range of contemporary performance practice uses the journey form as a conduit for a new type of social engagement with space and place that develops the concerns of the site-based relational artworks and performances of the 1990s.

AB - Exploring an emerging trend in contemporary theatre and performance to utilize and respond to journeys and travel, this article focuses on Hitch by Kieran Hurley and The Boat Project by Lone Twin. As with many journey-based performances, these examples share a concern with meeting people and building meaningful relationships with different communities. As such, they are understood within the context of Nicolas Bourriaud's influential model of ‘relational aesthetics’, which was developed towards the end of the twentieth century. Responding to an increasingly globalized version of modernity, Bourriaud has since responded to shifts in the field of relational art, tracing its evolution as ‘a site of navigation, a portal, a generator of activities’ that connects to an expanded, global relational realm. This article argues that a wide range of contemporary performance practice uses the journey form as a conduit for a new type of social engagement with space and place that develops the concerns of the site-based relational artworks and performances of the 1990s.

U2 - 10.1386/stap.33.3.365_1

DO - 10.1386/stap.33.3.365_1

M3 - Article

VL - 33

SP - 365

EP - 381

JO - Studies in Theatre and Performance

JF - Studies in Theatre and Performance

SN - 1468-2761

IS - 3

ER -