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AbstractHistoryArchive Description
Source: version 1.0 website, http://www.versiononepointzero.com/
Sighted: 27/04/2011
Production Details
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Produced by Performance Space, CarriageWorks and version 1.0 at Track 8, CarriageWorks, Sydney, 3-7 May 2011.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Dramaturgies of the Left-Behind : Mobility and Stickiness in The Disappearances Project
2016
single work
criticism
— Appears in: Theatre Research International , October vol. 41 no. 3 2016; (p. 245-257)'In the verbatim theatre performance The Disappearances Project (2011-13), Australian company Version 1.0 explored the state of unresolved loss felt by those left behind by missing persons. Rather than relying on verbatim testimony to simply 'tell' the stories of the left-behind, directors Yana Taylor and David Williams sought to immerse the audience in an indeterminate world, characterized by pathologies of endless searching and waiting, and a sense of paralysing loss. In this article, I argue that the performance hinged on dramaturgical practices of stillness, slowed movement and friction to produce the disturbing sense of 'sticky' indeterminacy characteristic of the experience of the left-behind. To develop this interpretation, I turn to the post-disciplinary field of mobility studies, which highlights the movement (or otherwise) of people, objects, information and capital, as well as embodied experience and sensory and kinesthetic environments. This provides ways to identify and analyse mobility-as-dramaturgy as well as the co-production of affective atmospheres within Disappearances and the wider field of performance. (Publication abstract)
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Friends of Missing Have Voices Heard
2012
single work
review
— Appears in: The Courier-Mail , 26 June 2012; (p. 40)
— Review of The Disappearances Project 2011 single work drama -
Dark Pain of Searching for Missing Loved Ones
2011
single work
review
— Appears in: The Australian , 3 May 2011; (p. 17)
— Review of The Disappearances Project 2011 single work drama -
Feel the Unyielding, Exhausting Pain of Not Knowing
2011
single work
review
— Appears in: The Sydney Morning Herald , 22-24 April 2011; (p. 13)
— Review of The Disappearances Project 2011 single work drama
-
Feel the Unyielding, Exhausting Pain of Not Knowing
2011
single work
review
— Appears in: The Sydney Morning Herald , 22-24 April 2011; (p. 13)
— Review of The Disappearances Project 2011 single work drama -
Dark Pain of Searching for Missing Loved Ones
2011
single work
review
— Appears in: The Australian , 3 May 2011; (p. 17)
— Review of The Disappearances Project 2011 single work drama -
Friends of Missing Have Voices Heard
2012
single work
review
— Appears in: The Courier-Mail , 26 June 2012; (p. 40)
— Review of The Disappearances Project 2011 single work drama -
Dramaturgies of the Left-Behind : Mobility and Stickiness in The Disappearances Project
2016
single work
criticism
— Appears in: Theatre Research International , October vol. 41 no. 3 2016; (p. 245-257)'In the verbatim theatre performance The Disappearances Project (2011-13), Australian company Version 1.0 explored the state of unresolved loss felt by those left behind by missing persons. Rather than relying on verbatim testimony to simply 'tell' the stories of the left-behind, directors Yana Taylor and David Williams sought to immerse the audience in an indeterminate world, characterized by pathologies of endless searching and waiting, and a sense of paralysing loss. In this article, I argue that the performance hinged on dramaturgical practices of stillness, slowed movement and friction to produce the disturbing sense of 'sticky' indeterminacy characteristic of the experience of the left-behind. To develop this interpretation, I turn to the post-disciplinary field of mobility studies, which highlights the movement (or otherwise) of people, objects, information and capital, as well as embodied experience and sensory and kinesthetic environments. This provides ways to identify and analyse mobility-as-dramaturgy as well as the co-production of affective atmospheres within Disappearances and the wider field of performance. (Publication abstract)