Performance and the Partial

Hetty Blades

doi:10.1386/chor_00006_1

Performance and the Partial

Hetty Blades

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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 language	English
Pages (from-to)	249-268
Journal	Choreographic Practices
Volume	10
Issue number	2
DOIs	https://doi.org/10.1386/chor_00006_1
Publication status	Published - 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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Hetty Blades
- Research Centre for Dance Research - Associate Professor (Research)
Person: Teaching and Research

Cite this

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title = "Performance and the Partial",

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. ",

author = "Hetty Blades",

note = "{\textcopyright} 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 {\textcopyright} 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. ",

year = "2019",

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doi = "10.1386/chor_00006_1",

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AB - 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.

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JO - Choreographic Practices

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Performance and the Partial

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