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dc.contributor.authorBalfour, Michael
dc.date.accessioned2017-05-03T15:17:08Z
dc.date.available2017-05-03T15:17:08Z
dc.date.issued2012
dc.date.modified2013-06-17T03:10:08Z
dc.identifier.issn0266-464X
dc.identifier.doi10.1017/S0266464X12000036
dc.identifier.urihttp://hdl.handle.net/10072/47842
dc.description.abstractOne of the most unusual statistics in the study of performance and war is that aesthetic activity often increases in times of conflict. In this article Michael Balfour extends the consideration of performance and war to aesthetic projects that were located far removed from the centres of conflict, but that deeply connected with the affective impact of war. As an illustration of performative practice, the examples demonstrate the ways in which place making can play with documenting and representing war experiences in different ways. The two examples - This is Camp X-Ray in Manchester (a temporary installation) and the Vietnam Veterans Memorial in Washington DC - were designed in separate contexts for very different purposes; but contribute to understanding the kinds of choices that artists make in representing the affective 'truths' of war experience. In both cases, the artists were interested in creating spaces that would make the wars more visible for an audience, and provide a tangible place in which experiences of war could be re-conceived and an affective connection made. Michael Balfour is Professor of Applied Theatre, Griffith University, Brisbane, Australia. His research expertise is in the social applications of theatre, in particular theatre and war, prison theatre, and arts and health. Major Australian Research Council-funded projects include The Difficult Return, on approaches to artsbased work with returning military personnel, and Captive Audiences, on the impact of performing arts programmes in prisons. His books include Theatre and War 1933-1945 and, most recently, Performance in Place of War, co-authored with James Thompson and Jenny Hughes (Seagull Press, 2010).
dc.description.peerreviewedYes
dc.description.publicationstatusYes
dc.format.extent933937 bytes
dc.format.mimetypeapplication/pdf
dc.languageEnglish
dc.language.isoeng
dc.publisherCambridge University Press
dc.publisher.placeUnited Kingdom
dc.relation.ispartofstudentpublicationN
dc.relation.ispartofpagefrom30
dc.relation.ispartofpageto40
dc.relation.ispartofissue1
dc.relation.ispartofjournalNew Theatre Quarterly
dc.relation.ispartofvolume28
dc.rights.retentionY
dc.subject.fieldofresearchDrama, theatre and performance studies
dc.subject.fieldofresearchCultural studies
dc.subject.fieldofresearchcode360403
dc.subject.fieldofresearchcode4702
dc.titleMapping realities: representing war through affective place making
dc.typeJournal article
dc.type.descriptionC1 - Articles
dc.type.codeC - Journal Articles
gro.facultyArts, Education & Law Group, School of Education and Professional Studies
gro.rights.copyright© 2012 Cambridge University Press. The attached file is reproduced here in accordance with the copyright policy of the publisher. Please refer to the journal's website for access to the definitive, published version.
gro.date.issued2012
gro.hasfulltextFull Text
gro.griffith.authorBalfour, Michael S.


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