Site-specific Performance and the Mobility Turn

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Notes

 1. Mike Pearson and Michael Shanks, Theatre/Archaeology (London: Routledge, 2001), p. 23.

 2. John Urry, Mobilities (Cambridge: Polity Press, 2007), p. 18.

 3. See, for example, Nick Kaye, Site-Specific Art: Performance, Place and Documentation (London: Routledge, 2000) and Mike Pearson, Site-Specific Performance (Basingstoke: Palgrave Macmillan, 2010), both discussed further below.

 4. Cited in Kaye, Site-Specific Art, p. 2. Also stated as ‘to remove the work is to destroy the work’ (emphasis added); cited in Miwon Kwon, One Place After Another: Site-Specific Art and Locational Identity (Cambridge, MA: MIT Press, 2002), p.12.

 5. Kwon, One Place After Another, p. 11.

 6. Tim Brennan, Codex: Crusade (Sunderland: Art Editions North, 2004), p. 26.

 7. Damian Brennan, ‘Discursive/Excursive’, in Tim Brennan, Guidebook: Three Manoeuvres by Tim Brennan in London E1/E2 (London: Camerawork, 1999), pp. 53–76 (pp. 53–54, emphases in original).

 8. Kaye, Site-Specific Art, p. 96.

 9. Ibid., p. 103.

10. Ibid., p. 50.

11. Yi-Fu Tuan, Space and Place (Minneapolis: University of Minnesota Press, 1977), p. 179.

12. Peter Adey, Mobility (London: Routledge, 2010), p. 75.

13. Doreen Massey, For Space (London: Sage, 2005), p. 160.

14. Massey, For Space, p.149.

15. Ibid., p. 151.

16. Adey, Mobility, p. 76.

17. Massey, For Space, p.138.

18. Pearson, Site-Specific Performance, p. 14.

19. Fiona Wilkie, ‘The Production of “Site”: Site-Specific Theatre’, in Nadine Holdsworth and Mary Luckhurst (eds), Concise Companion to Contemporary British and Irish Theatre (Oxford: Blackwell, 2008), pp. 87–106 (p.90).

20. Pearson, Site-Specific Performance, p. 13.

21. Urry, Mobilities, p.254.

22. Ibid., p. 7.

23. Urry offers a list of ‘twelve main mobility forms in the contemporary world’ (ibid., pp. 10–11); all are types of travel.

24. Tim Cresswell, On the Move (New York and Abingdon: Routledge 2006), p. 55.

25. Kwon, One Place After Another, p. 164.

26. Phil Smith, ‘Water and Stone’, Mythogeography website (2010), <http://www.mythogeography.com/2010/02/water-and-stone.html> [accessed 23 November 2010].

27. Kwon, One Place After Another, p. 165.

28. Cresswell, On the Move, p. 53.

29. Kwon, One Place After Another, p. 160.

30. Ibid., p. 166.

31. Cresswell, On the Move, p. 55.

32. Ibid., p. 54.

33. Kwon, One Place After Another, p. 33.

34. Pearson, Site-Specific Performance, pp.19–21.

35. Cresswell, On the Move, p. 4.

36. The field of dance studies has been particularly interested in attending to this; see, for example, André Lepecki, Exhausting Dance: Performance and the Politics of Movement (New York: Routledge, 2006); Meaning in Motion: New Cultural Studies of Dance, ed. by Jane Desmond (Durham, NC: Duke University Press, 1997).

37. Kaye, Site-Specific Art, p. 115, where he is applying the description to Claes Oldenburg's The Store, 1961–62.

38. See tramjatra: Imagining Melbourne and Kolkata by Tramways, ed. by Mick Douglas (New Delhi: Yoda Press and Melbourne: RMIT University Press, 2005), as well as the project websites <www.tramtactic.net> and <www.ride-on-dinner.net>.

39. Douglas, tramjatra, p. 40.

40. Ibid.

41. Mick Douglas, ‘Carriage: Cultural Transports and Transformations of a Socially-Engaged Public Art Practice’ (unpublished doctoral thesis, RMIT University, Melbourne, 2010), p.92.

42. Ibid., p. 100.

43. Details for Passengers (2010) at <www.kiltertheatre.org> [accessed 6 December 2010].

44. Cresswell, On the Move, p. 54.

45. Pearson, Site-Specific Performance, p. 194.

46. National Theatre of Wales, <http://nationaltheatrewales.org> [accessed 20 December 2010].

47. Trish Reid, ‘“From Scenes Like These Old Scotia's Grandeur Springs”: The New National Theatre of Scotland’, Contemporary Theatre Review, 17.2 (Summer 2007), 192–201 (p.198).

48. Joanne ‘Bob’ Whalley and Lee Miller, ‘Away from Home: The Curious Domain of Passage’, Performance Research 12 (Spring 2007), 66–74 (p. 69).