Performance and the Partial

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    Abstract

    This article reflects on my experience of two performance works: Still Life (2018) by Hamish Macpherson and Papier mutliforme et Papier Comestible (2018) by Emilie Gallier, both of which cultivate partial experiences for the spectator. I consider how the partial nature of these works raise questions about what it means to access a choreographic work and rely on new ways of thinking about how we experience and analyse performance.
    Original languageEnglish
    Pages (from-to)249-268
    JournalChoreographic Practices
    Volume10
    Issue number2
    DOIs
    Publication statusPublished - Dec 2019

    Bibliographical note

    © Blades, H 2019. The definitive, peer reviewed and edited version of this article is published in Performance and the Partial', Choreographic Practices, vol. 10, no. 2, pp. 249-268. (2019) https://dx.doi.org/10.1386/chor_00006_1

    Copyright © and Moral Rights are retained by the author(s) and/ or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This item cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder(s). The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders.

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