Table of Contents

INTRODUCTION I. Wherefore PAR?: Discussions on "a line of flight" Bruce Barton

On PaR: A dialogue about rerformance-as-research Jonathan Heron and Baz Kershaw

Research-Based Practice: Facilitating transfer across artistic, scholarly, and scientific inquiries Pil Hansen

The Daisy Chain Model: an approach to epistemic mapping and dissemination in performance-based research Joanna Bucknall

INTRODUCTION II. Threads: Linking PAR practice across spectrums Melanie Dreyer-Lude

A New Rhetoric: Notes on performance as research in academia Valentina Signore

Research as Theatre (RaT): Positioning theatre at the centre of PAR, and PAR at the centre of the academy Yelena Gluzman

Agential Cuts and Performance as Research Annette Arlander

Antromovimento: Developing a new methodology for theatre anthropology Laurelann Porter

PAR and Decolonisation: Notemakings from an Indian and South African context Manola K. Gayatri

Containers of Practice: Would you step into my shell? Göze Saner

INTRODUCTION III. Mad Lab—or why we can’t do Practice as research Ben Spatz

PAR Produces Plethora, Extended Voices are Plethoric, and Why Plethora Matters Yvon Bonenfant

Choreographic Practice-as-Research: Visualizing conceptual structures in contemporary dance Stephan Jürgens and Carla Fernandes

The City (as) Place: Performative remappings of urban space through artistic research Shana MacDonald

Resonance in the Steps of Rubicon Monica Sand

Violence and Performance Research Methods: Direct-action, "die-ins," and allyship in a Black Lives Matter era" Juan Manuel Aldape Muñoz

INTRODUCTION TO FUTURE CONCERNS. Multiple Futures of Performance as Research? Annette Arlander

About the Author

Annette Arlander is an artist, researcher, and pedagogue. She is currently principal investigator of the research project How to Do Things with Performance? and engaged in the project Performing with Plants.

Bruce Barton is a creator/scholar, Artistic Director of the interdisciplinary performance hub Vertical City, and Director of the School of Creative and Performing Arts, University of Calgary.

Melanie Dreyer-Lude is a director, actor, producer and teacher. She is a resident producing artist at Civic Ensemble, Ithaca, and an Associate Professor in the Department of Theatre and Dance, Missouri University.

Ben Spatz is author of What a Body Can Do: Technique as Knowledge, Practice as Research and editor of the videographic Journal of Embodied Research. They are currently Senior Lecturer in Drama, Theatre and Performance at University of Huddersfield.