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.
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
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