Simon Donger is a lecturer and a researcher in scenography and performance arts at Central School of Speech and Drama, University of London. Simon Shepherd is Deputy Principal (Academic) and Professor of Theatre at Central School of Speech and Drama, University of London. He is the author of Theatre, Body and Pleasure (Routledge 2006), and The Cambridge Introduction to Modern British Theatre (Cambridge University Press 2009).ORLAN is a multidisciplinary artist, living and working in Los Angeles, New York, and Paris. She is a professor at the École Nationale Supérieure des Beaux-Arts in Cergy, France. She was formerly scholar in residence at the Getty Research Institute in Los Angeles.

• Preface 1: Restless Corporealities - Simon DongerPreface 2: The Matter of ORLAN - Simon ShepherdThe Triumph of the Folds - Christine Buci-Glucksmann 1 SEMINAL ARCHIVES2 OPEN BODIES3 HYBRID BODIES4 CURRENT DIALOGUES

‘Rather than a single, overarching account of ORLAN’s oeuvre, what this book valuably provides is a range of texts exploring overlapping ideas, myriad mouthpieces returning to and unpacking certain qualities of ORLAN’s practice in distinctly different ways, suturing and dissecting these into fascinatingly autonomous analyses. For me, quite purposefully, the undisciplined collection of texts in this rigorous and exciting volume morphs in a multitude of ways, much like the artist’s own marvellously monstrous practice.’ – Rachel Zerihan, Contemporary Theatre Review

Simon Donger is a lecturer and a researcher in scenography and performance arts at Central School of Speech and Drama, University of London. Simon Shepherd is Deputy Principal (Academic) and Professor of Theatre at Central School of Speech and Drama, University of London. He is the author of Theatre, Body and Pleasure (Routledge 2006), and The Cambridge Introduction to Modern British Theatre (Cambridge University Press 2009).ORLAN is a multidisciplinary artist, living and working in Los Angeles, New York, and Paris. She is a professor at the École Nationale Supérieure des Beaux-Arts in Cergy, France. She was formerly scholar in residence at the Getty Research Institute in Los Angeles.

• Preface 1: Restless Corporealities - Simon DongerPreface 2: The Matter of ORLAN - Simon ShepherdThe Triumph of the Folds - Christine Buci-Glucksmann 1 SEMINAL ARCHIVES2 OPEN BODIES3 HYBRID BODIES4 CURRENT DIALOGUES

‘Rather than a single, overarching account of ORLAN’s oeuvre, what this book valuably provides is a range of texts exploring overlapping ideas, myriad mouthpieces returning to and unpacking certain qualities of ORLAN’s practice in distinctly different ways, suturing and dissecting these into fascinatingly autonomous analyses. For me, quite purposefully, the undisciplined collection of texts in this rigorous and exciting volume morphs in a multitude of ways, much like the artist’s own marvellously monstrous practice.’ – Rachel Zerihan, Contemporary Theatre Review

Simon Donger is a lecturer and a researcher in scenography and performance arts at Central School of Speech and Drama, University of London. Simon Shepherd is Deputy Principal (Academic) and Professor of Theatre at Central School of Speech and Drama, University of London. He is the author of Theatre, Body and Pleasure (Routledge 2006), and The Cambridge Introduction to Modern British Theatre (Cambridge University Press 2009).ORLAN is a multidisciplinary artist, living and working in Los Angeles, New York, and Paris. She is a professor at the École Nationale Supérieure des Beaux-Arts in Cergy, France. She was formerly scholar in residence at the Getty Research Institute in Los Angeles.

• Preface 1: Restless Corporealities - Simon DongerPreface 2: The Matter of ORLAN - Simon ShepherdThe Triumph of the Folds - Christine Buci-Glucksmann 1 SEMINAL ARCHIVES2 OPEN BODIES3 HYBRID BODIES4 CURRENT DIALOGUES

‘Rather than a single, overarching account of ORLAN’s oeuvre, what this book valuably provides is a range of texts exploring overlapping ideas, myriad mouthpieces returning to and unpacking certain qualities of ORLAN’s practice in distinctly different ways, suturing and dissecting these into fascinatingly autonomous analyses. For me, quite purposefully, the undisciplined collection of texts in this rigorous and exciting volume morphs in a multitude of ways, much like the artist’s own marvellously monstrous practice.’ – Rachel Zerihan, Contemporary Theatre Review