Lucy Jolin interviewed Re- Network founder Clare Foster about the popularity of social forms of re-enactment for the latest issue of CAM magazine. CRASSH reports on it here. “Emily Zhang is loitering with intent in Grantchester Meadows. She is on a mission: to overthrow a mysterious artificial intelligence that has been terrifying her people. Eventually, […]
What do we mean when we say ‘we can’t see the wood for the trees’? The expression marks the fact there are always different levels of potential awareness when we look at what is in front of us. For Polanyi, who coined the expression ‘tacit knowing’ or ‘tacit knowledge’ in his seminal work ‘The Tacit Dimension’ (1966), these multiple levels are a form of tacit knowing, a comprehensive entity. Knowledge for Polanyi is above all personal: an embodied act, and always mediated.
Mischa Twitchin’s essay films engage with philosophical ideas through a carefully calibrated and playful combination of sound, pace, image, duration and text.
This essay-film performs the paradoxical simultaneities it addresses. As film-philosophy, its meaning depends on being watched several times. Or as Twitchin puts it, ‘we have to practice Brechtian watching of the other watchers’.
What happens in performance, above all to the characters, when an actor transforms them from their fictional existence on the page to their physical enactment on the stage?
What insights about the idea of ‘translation’ might be gleaned from thinking about it not only in performance, but itself as a kind of performance? Nicholas Arnold, following last week’s ‘Re-’ Interdisciplinary Network symposium on ‘Translation as Performance’, was prompted to reflect on the multicultural and multilingual shows and audiences that have characterized international theatre festivals since the 1960s – including his own productions.