This book presents a study that undertakes an examination of participatory practices in contemporary theatre, performance and the visual arts, setting these against the broader social and political horizons of civic participation. It reconsiders the status of participation, with particular emphasis on participatory art both beyond a judgement of its social qualities as well as the confines of format and devising. The book attempts a cross-disciplinary discussion of participation, bringing together examples from the field of applied and community theatre, performance art and participatory visual arts. Gestures of participation in performance indicate possibilities for reconfiguring civic participation in public spaces in unexpected ways. Thus, less emphasis is laid on direct opposition and instead seeking a variety of modes of resisting co-optation, through unsolicited, vicarious or delicate gestures of participation. The book examines the question of institutional critique in relation to participatory art. It moves on to address the relationship between participatory art and the concept of 'impact'. A close examination of one workshop setting using the methodological framework of the 'theatre of the oppressed' in the context of a political party-led initiative follows. The book follows two conceptually inspired performance projects Where We Are Not? and If I Could Take Your Place? Finally, it emphasizes on how common-sense assumptions around audience participation in theatre and performance theory are called into question by the artwork's foregrounding of sleep as a mode of participation.
across domains. I argue that they alert us to the changing
institutional conditions that allow or restrict participation, exposing
not just the rules or norms of a certain institution, but also, or equally,
the rules of its specific traditions of institutional critique.
Chapter 2 addresses the relationship between participatory art
and the conceptof ‘impact’. I investigate the assumptions around
impact in relation to participatory art, as well as the critical and
methodological challenges of thinking the impact of a work of art.
Using the 2012 Spanish
al. , 2010 ) and the United Kingdom, whilst long-standing academic conventions, like assessment of journal impact factors and citation counts, have been used as measures of the impact of research on the academic community for many years.
From a research communication perspective a broadening of the conceptofimpact is bringing renewed emphasis to ways that researchers might apply, bridge and integrate their work across disciplines, as well as communicate to non-academics and organisations the lessons and knowledge they have generated (Bastow et al