JONATHAN PITCHES is Professor of Theatre and Performance in the School of Performance and Cultural Industries at the University of Leeds, UK. He is the author of Vsevolod Meyerhold and Science and the Stanislavsky Tradition of Acting, and founding co-editor of Theatre Dance and Performance Training. SITA POPAT is Head of the School of Performance and Cultural Industries and Senior Lecturer in Dance at the University of Leeds, UK. She is the author of Invisible Connections: Dance, Choreography and Internet Communities, and Associate Editor of the International Journal of Performance Arts and Digital Media.

• List of Illustrations and FiguresList of TablesNotes on ContributorsForeword; M.WallisAcknowledgementsIntroduction; J.PitchesPART I: BODY; Introduced and edited by A.FenemoreAny Body? The Multiple Bodies of the Performer; V.Ramirez Ladron De GueveraSome Body and No Body: The Body of a Performer; W.HoustounEvery Body: Performance's Other Bodies; A.FenemorePART II: SPACE; Introduced and edited by S.PalmerEvent-Space: Performance Space and Spatial Performativity; D.HannahScenographic Space and Place; L.A.WilsonAudience Space/Scenographic Space; S.PalmerPART III: TIME; Introduced and edited by T.GardnerTheatre, Technology and Time; S.DixonGhost Dance: Time and Duration in the Work of Lone Twin; G.WhelanThe Lives and Times of Performance; T.GardnerPART IV: TECHNOLOGY; Introduced and edited by S.PopatGaming and Performance: Narrative and Identity; J.WoodSwanQuake House 'Messing the System Up'; R.Gibson & B.MartelliPerformance and Technology: The Myth of Disembodiment; S.PopatPART V: INTERACTIVITY; Introduced and edited by A.O'GradyBoalian Perspectives on Interactivity in Theatre; J.SomersInteractivity and the Work of Blast Theory; M.AdamsInteractivity: Functions and Risks; A.O'GradyPART VI: ORGANISATION; Introduced and edited by C.TaylorPerformance, Culture and Industry; R.BrownOrganisational Agility and Improvisation; T.GreenstreetPerformance, Organisation, Theory; C.TaylorEpilogue; J.PitchesBibliography.

'As a tool to facilitate the orientation, critical grounding, analysis, and evaluation of performance work, this should be a set text for every theatre and performance course.' - New Theatre Quarterly 'This book is a guide and a map to key concepts that inspire the making and theorizing of performance. Re-imagining the borders that separate academics and practitioners, Performance Perspectives gives voice to multiple ways of thinking, observing, interconnecting, bridling, and creating.' - Lin Hixson, Professor and Chair, Performance Department, School of the Art Institute of Chicago, USA 'Pitches and Popat have constructed an invaluable resource for students and scholars of contemporary performance anywhere. Performance Perspectives provides new angles on the field and is ideally suited for use in the tertiary classroom.' Edward Scheer, Associate Professor of Theatre Studies, University of New South Wales, Australia.

JONATHAN PITCHES is Professor of Theatre and Performance in the School of Performance and Cultural Industries at the University of Leeds, UK. He is the author of Vsevolod Meyerhold and Science and the Stanislavsky Tradition of Acting, and founding co-editor of Theatre Dance and Performance Training. SITA POPAT is Head of the School of Performance and Cultural Industries and Senior Lecturer in Dance at the University of Leeds, UK. She is the author of Invisible Connections: Dance, Choreography and Internet Communities, and Associate Editor of the International Journal of Performance Arts and Digital Media.

• List of Illustrations and FiguresList of TablesNotes on ContributorsForeword; M.WallisAcknowledgementsIntroduction; J.PitchesPART I: BODY; Introduced and edited by A.FenemoreAny Body? The Multiple Bodies of the Performer; V.Ramirez Ladron De GueveraSome Body and No Body: The Body of a Performer; W.HoustounEvery Body: Performance's Other Bodies; A.FenemorePART II: SPACE; Introduced and edited by S.PalmerEvent-Space: Performance Space and Spatial Performativity; D.HannahScenographic Space and Place; L.A.WilsonAudience Space/Scenographic Space; S.PalmerPART III: TIME; Introduced and edited by T.GardnerTheatre, Technology and Time; S.DixonGhost Dance: Time and Duration in the Work of Lone Twin; G.WhelanThe Lives and Times of Performance; T.GardnerPART IV: TECHNOLOGY; Introduced and edited by S.PopatGaming and Performance: Narrative and Identity; J.WoodSwanQuake House 'Messing the System Up'; R.Gibson & B.MartelliPerformance and Technology: The Myth of Disembodiment; S.PopatPART V: INTERACTIVITY; Introduced and edited by A.O'GradyBoalian Perspectives on Interactivity in Theatre; J.SomersInteractivity and the Work of Blast Theory; M.AdamsInteractivity: Functions and Risks; A.O'GradyPART VI: ORGANISATION; Introduced and edited by C.TaylorPerformance, Culture and Industry; R.BrownOrganisational Agility and Improvisation; T.GreenstreetPerformance, Organisation, Theory; C.TaylorEpilogue; J.PitchesBibliography.

'As a tool to facilitate the orientation, critical grounding, analysis, and evaluation of performance work, this should be a set text for every theatre and performance course.' - New Theatre Quarterly 'This book is a guide and a map to key concepts that inspire the making and theorizing of performance. Re-imagining the borders that separate academics and practitioners, Performance Perspectives gives voice to multiple ways of thinking, observing, interconnecting, bridling, and creating.' - Lin Hixson, Professor and Chair, Performance Department, School of the Art Institute of Chicago, USA 'Pitches and Popat have constructed an invaluable resource for students and scholars of contemporary performance anywhere. Performance Perspectives provides new angles on the field and is ideally suited for use in the tertiary classroom.' Edward Scheer, Associate Professor of Theatre Studies, University of New South Wales, Australia.

JONATHAN PITCHES is Professor of Theatre and Performance in the School of Performance and Cultural Industries at the University of Leeds, UK. He is the author of Vsevolod Meyerhold and Science and the Stanislavsky Tradition of Acting, and founding co-editor of Theatre Dance and Performance Training. SITA POPAT is Head of the School of Performance and Cultural Industries and Senior Lecturer in Dance at the University of Leeds, UK. She is the author of Invisible Connections: Dance, Choreography and Internet Communities, and Associate Editor of the International Journal of Performance Arts and Digital Media.

• List of Illustrations and FiguresList of TablesNotes on ContributorsForeword; M.WallisAcknowledgementsIntroduction; J.PitchesPART I: BODY; Introduced and edited by A.FenemoreAny Body? The Multiple Bodies of the Performer; V.Ramirez Ladron De GueveraSome Body and No Body: The Body of a Performer; W.HoustounEvery Body: Performance's Other Bodies; A.FenemorePART II: SPACE; Introduced and edited by S.PalmerEvent-Space: Performance Space and Spatial Performativity; D.HannahScenographic Space and Place; L.A.WilsonAudience Space/Scenographic Space; S.PalmerPART III: TIME; Introduced and edited by T.GardnerTheatre, Technology and Time; S.DixonGhost Dance: Time and Duration in the Work of Lone Twin; G.WhelanThe Lives and Times of Performance; T.GardnerPART IV: TECHNOLOGY; Introduced and edited by S.PopatGaming and Performance: Narrative and Identity; J.WoodSwanQuake House 'Messing the System Up'; R.Gibson & B.MartelliPerformance and Technology: The Myth of Disembodiment; S.PopatPART V: INTERACTIVITY; Introduced and edited by A.O'GradyBoalian Perspectives on Interactivity in Theatre; J.SomersInteractivity and the Work of Blast Theory; M.AdamsInteractivity: Functions and Risks; A.O'GradyPART VI: ORGANISATION; Introduced and edited by C.TaylorPerformance, Culture and Industry; R.BrownOrganisational Agility and Improvisation; T.GreenstreetPerformance, Organisation, Theory; C.TaylorEpilogue; J.PitchesBibliography.

'As a tool to facilitate the orientation, critical grounding, analysis, and evaluation of performance work, this should be a set text for every theatre and performance course.' - New Theatre Quarterly 'This book is a guide and a map to key concepts that inspire the making and theorizing of performance. Re-imagining the borders that separate academics and practitioners, Performance Perspectives gives voice to multiple ways of thinking, observing, interconnecting, bridling, and creating.' - Lin Hixson, Professor and Chair, Performance Department, School of the Art Institute of Chicago, USA 'Pitches and Popat have constructed an invaluable resource for students and scholars of contemporary performance anywhere. Performance Perspectives provides new angles on the field and is ideally suited for use in the tertiary classroom.' Edward Scheer, Associate Professor of Theatre Studies, University of New South Wales, Australia.