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Performance Lab publications 2018-2021

Crossed perspectives on post-doctoral research: assessments and prospects for collaboration in research-creation

Conversation between Juan Carlos Lérida and Carolane Sanchez, via zoom, from Barcelona to Lyon, 22/06/2020  :


European Journal of Theatre and Performance - Issue 2 May 2020 (free acces)

As a gesture of solidarity during the COVID-19 pandemic, EASTAP (European Journal of Theatre and Performance) is offering its May 2020 issue for free access. Among the articles published, two (in french) are from members of the Performance Lab:

Martin GIVORS, Aux côtés des artistes-interprètes de Fractus V (Compagnie Eastman / Sidi Larbi Cherkaoui, 2015-2019) : Approche micropolitique d’un processus de création et de tournée

Anne-Laure AMILHAT SZARY, (Dé)jouer à se faire peur - sur “ Le pire n’est pas(toujours) certain ” de Catherine BOSKOWITZ, 2019

Summary: With "Le Pire n'est pas (toujours) certain", a show created at the MC93 in Bobigny, Catherine Boskowitz proposes by taking up the question of migration and the reactions it provokes as a Voltairian political tale where it is possible to play on fear, in the literal sense that theatre allows, as well as in the political sense of commitment. The geographer Anne-Laure Amilhat-Szary attended its creation. What gradually became "Le Pire n'est pas (toujours) certain", a play written and directed by Catherine Boskowitz (according to her credits), is in fact a poetic and political device inspired by the contemporary crisis of migration policies and brought to the stage by an exceptional group of artists. In the wave of documentary art that sweeps before audiences in search of meaning, this piece takes on an unprecedented power by weaving two threads, one narrative, the other contextual.

Dance national center (Paris)  - Colloquium Proceedings « Traces et résonance : réécrire, consigner, adapter la danse » - 26 & 27 June 2019

Pages 80-93 of the colloquium proceedings: Martin GIVORS, Florent MEDINA , Le mouvement filmé : résonances cinémato/chorégraphiques, in GAUTHIER Céline et SEROL Lucas (dir.)

Presentation of excerpts from their film work, followed by a dialogue between the two filmmakers and an exchange with the audience. Florent Médina and Martin Givors record and edit images and sounds of dancing bodies. In a different way. The former creates film-dance works with his company Vivants Piliers; the latter makes an ethnographic flm with dancers from Sidi Larbi Cherkaoui's company. Together, they will discuss three cine-choreographic issues: 1. the filmmaker's posture in front of the dance; 2. editing (in) the flow of the dance; 3. the traces of the energy of the dancing body in the moving image.

Performance Lab Progress Report for 2018


Gay MCAULEY - Presentation of  the book: Not Magic but Work : an Ethnographic Account of a Rehearsal Process (University of Manchester Press, 2012)

Gay McAuley offers a detailed description of the production process of a theatrical work, based on the example of Michael Gow's international creation Toy Symphony - the first play this renowned playwright wrote after 10 years of silence. Directed by Neil Armfield for B Belvoir Company, a prestigious company he has directed for more than 20 years in Sydney.
In the introduction, she begins by situating the main study in relation to the practice of Rehearsal studies, as it develops at the University of Sydney, and provides some indications concerning the methodological and conceptual contribution of ethnography in this new discipline.
The first part of the book offers a meticulous description of the creative process of this show. The process is chronologically traced by the author who followed the day-to-day rehearsals from beginning to end, and who spent a long time talking with the actors, the designers and the director.
The second part of the book consists of four essays in which Gay McAuley reflects on the creative process she has observed in order to extract the deep significance of some of its aspects: the complex interplay between fiction and reality that is part of theatrical creation, the productive tension between writer, director and actors with regard to interpretation and communication with the public, the role of the director in a necessarily collective creation process. The fourth essay, translated by Laure Fernandez, looks back at some seemingly random elements in the process and questions them to try to better understand the deep motivations that drive practitioners throughout careers that often resemble difficult courses.

Submitted on October 10, 2023

Updated on October 10, 2023