Making routes: Relational journeys in contemporary performance

David Overend

Research output: Contribution to journalArticle

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 '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.
Original languageEnglish
Pages (from-to)365-381
JournalStudies in Theatre and Performance
Volume33
Issue number3
DOIs
Publication statusPublished - Sep 2013

Keywords

  • journeys
  • relational aesthetics
  • performance
  • Altermodern
  • mobilities paradigm
  • Kieran Hurley
  • Lone Twin

Cite this

@article{d29f8885f0a54f08b2155aec6a4af626,
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 '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.",
keywords = "journeys, relational aesthetics, performance, Altermodern, mobilities paradigm, Kieran Hurley, Lone Twin",
author = "David Overend",
year = "2013",
month = "9",
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 = "Taylor & Francis",
number = "3",

}

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

In: Studies in Theatre and Performance, Vol. 33, No. 3, 09.2013, p. 365-381.

Research output: Contribution to journalArticle

TY - JOUR

T1 - Making routes: Relational journeys in contemporary performance

AU - Overend, David

PY - 2013/9

Y1 - 2013/9

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.

KW - journeys

KW - relational aesthetics

KW - performance

KW - Altermodern

KW - mobilities paradigm

KW - Kieran Hurley

KW - Lone Twin

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 -