PSi Working Groups bring together individual researchers to exchange ideas about shared topics of interest. Working groups meet during the yearly conferences, and sometimes also organize additional conferences or other events in between the conferences. (Note: Working Groups need to meet at least every other year at a PSi conference in order to be considered an active PSi group.)
If you would like to propose a working group, please contact Jennifer Nikolai.
AFTER DWIGHT CONQUERGOOD
PERFORMANCE AND PHILOSOPHY
DRAMATURGY & PERFORMANCE
Starting our inquiries are the questions:
What are the ideas and practices connecting performance studies and dramaturgy?
Is performance studies dramaturgical and how does dramaturgy (mis)perform in applying concepts and practices essayed within the performance studies paradigm?
PERFORMANCE IN HISTORICAL PARADIGMS
PERFORMANCE + DESIGN
PERFORMANCE & SCIENCE
Big players in the field of science like CERN and NASA invest in collaborations with performance makers. Joint research projects demonstrate the potential of science-performance collaborations in a diversity of fields, including medicine, cognition, and robotics. Performance presents a key to understanding scientific research and practices of knowledge production past and present, while expanded notions of performativity, like McKenzie’s technoperformance and Barad’s posthuman performativity, afford new, situated, embodied, environmental and post-anthropocentric approaches to questions and issues of concern to both science and performance. These potentials and possibilities are the subject of the working group Performance & Science. Please join us if you would like to share your work in this area and learn more about the work others are doing.
PERFORMANCE AND PEDAGOGY
Topics may be framed in institutional terms: How do pedagogies evolve, reflect and how can they drive education practices within cultural and economic ecologies? How can pedagogies effectively encompass responsiveness to social and political modalities? Do pedagogic models imply demands on curriculum? Where is change agency located? How are pedagogies embedded differently in cultural institutions dedicated to production and presentation? Other topics may originate in procedural observations: What are forms of feedback and critique across performance and performing arts? How do research and production methodologies impact student/teacher and student/student interaction? Whose responsibility is it to make professional ecologies transparent? How to articulate needs for improvement? Are we taking stock of practitioner knowledges and how should we track new developments around embodied exercises in teaching?