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<i class="">Performance Matters</i> has just published its latest issue, on "21st-Century Spectatorship" (Issue Editors: Kelsey Jacobson, Scott Mealey, Jenny Salisbury, and Cassandra Silver) at <a href="https://performancematters-thejournal.com/index.php/pm" class="">https://performancematters-thejournal.com/index.php/pm</a>. <br class="">
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We invite you to review the Table of Contents here and then visit our web site to review articles and items of interest.<br class="">
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Thanks for the continuing interest in our work,<br class="">
<br class="">
Peter Dickinson<br class="">
School for the Contemporary Arts/Institute for Performance Studies, Simon Fraser University<br class="">
<a href="mailto:peter_dickinson@sfu.ca" class="">peter_dickinson@sfu.ca</a><br class="">
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Performance Matters<br class="">
Vol 5, No 2 (2019): 21st-Century Spectatorship<br class="">
Table of Contents<br class="">
<a href="https://performancematters-thejournal.com/index.php/pm/issue/view/13" class="">https://performancematters-thejournal.com/index.php/pm/issue/view/13</a><br class="">
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Disruptive Presence: Twenty-First-Century Shifts in Spectatorship and Audience Research (1-5)<br class="">
<span class="Apple-tab-span" style="white-space: pre;"></span>Kelsey Jacobson, Scott Mealey, Jenny Salisbury<br class="">
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Articles<br class="">
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Emancipating the Spectator? Livecasting, Liveness, and the Feeling I (6-23)<br class="">
<span class="Apple-tab-span" style="white-space: pre;"></span>Heidi Liedke<br class="">
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<div class="">“Saw You in the Dark”: Exploring Rufus Wainwright’s Emotional Vulnerability in Fan-Captured Live Performance Videos (24-40)<br class="">
<span class="Apple-tab-span" style="white-space: pre;"></span>Stephanie Salerno<br class="">
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<div class="">Emancipated Spect-actors: A Rancièrean Reading of Augusto Boal’s Theatre of the Oppressed (41-54)<br class="">
<span class="Apple-tab-span" style="white-space: pre;"></span>Susanne Shawyer<br class="">
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Materials<br class="">
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Staging the Gaze in Rimini Protokoll's Situation Rooms (55-63)<br class="">
<span class="Apple-tab-span" style="white-space: pre;"></span>Melanie Wilmink<br class="">
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<div class="">Participant Spectator Meeting Places (64-87)<br class="">
<span class="Apple-tab-span" style="white-space: pre;"></span>Lucinda Coleman<br class="">
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<div class="">All Night Check: Beautiful Young Ladies to Perform for You (88-97)<br class="">
<span class="Apple-tab-span" style="white-space: pre;"></span>Angela Sweigart-Gallagher, Melissa C. Thompson<br class="">
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<div class="">Rules of Engagement: Navigating the Realm of Online Mommy Groups (98-105)<br class="">
<span class="Apple-tab-span" style="white-space: pre;"></span>Cynthia Ing<br class="">
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<div class="">Bored with Strangers: A Site-Specific Museum Theatre Piece (106-146)<br class="">
<span class="Apple-tab-span" style="white-space: pre;"></span>Christine Gwillim, Samantha Provenzano, Lauren Smith<br class="">
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Forum<br class="">
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What Areas of Spectatorship Need to Be Studied in Contemporary Contexts? (147-149)<br class="">
<span class="Apple-tab-span" style="white-space: pre;"></span>Willmar Sauter</div>
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<div class="">Studying the Relationship between Artistic Intent and Observable Impact (150-155)<br class="">
<span class="Apple-tab-span" style="white-space: pre;"></span>Dani Snyder-Young<br class="">
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<div class="">Research for Impact: Audience, Method, and Dissemination (156-162)<br class="">
<span class="Apple-tab-span" style="white-space: pre;"></span>Matt Omasta<br class="">
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<div class="">Assembling the Audience-Citizen (Or, Should Each Person Be Responsible for Their Own Paté?) (163-168)<br class="">
<span class="Apple-tab-span" style="white-space: pre;"></span>Jenn Stephenson<br class="">
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<div class="">Uncharted Territories in "Empirical" Audience Research (169-172)<br class="">
<span class="Apple-tab-span" style="white-space: pre;"></span>Kirsty Sedgman<br class="">
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Performance Matters<br class="">
<a href="http://performancematters-thejournal.com" class="">http://performancematters-thejournal.com</a><br class="">
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<div>___________________<br class="">
<b class="">Peter Dickinson, PhD</b><br class="">
Professor and Graduate Chair<br class="">
School for the Contemporary Arts | SFU<br class="">
Director, Institute for Performance Studies | SFU<br class="">
T: 604-908-0993<br class="">
W: <a href="http://www.sfu.ca/~ped" class="">http://www.sfu.ca/~ped</a><br class="">
<br class="">
At Simon Fraser University, we live and work on the unceded traditional territories of the Coast Salish peoples of the xʷməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish), and Səl̓ílwətaɬ (Tsleil-Waututh) Nations.</div>
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