The book advances our understanding of performance as a mode of caring and explores the relationship between socially engaged performance and care. It creates a dialogue between theatre and performance, care ethics and other disciplinary areas such as youth and disability studies, nursing, criminal justice and social care. Challenging existing debates in this area by rethinking the caring encounter as a performed, embodied experience and interrogating the boundaries between care practice and performance, the book engages with a wide range of different care performances drawn from interdisciplinary and international settings. Drawing on interdisciplinary debates, the edited collection examines how the field of performance and the aesthetic and ethico-political structures that determine its relationship with the social might be challenged by an examination of inter-human care. It interrogates how performance might be understood as caring or uncaring, careless or careful, and correlatively how care can be conceptualised as artful, aesthetic, authentic or even ‘fake’ and ‘staged’. Through a focus on care and performance, the contributors in the book consider how performance operates as a mode of caring for others and how dialogical debates between the theory and practice of care and performance making might foster a greater understanding of how the caring encounter is embodied and experienced.
the notion of care as embodied performance. This characterisation of care as performance situates care ethics as distinct from traditional moral approaches that tend toward reinforcing cognitive hierarchies within mind–body dualisms. Although embodiedcare (Hamington, 2004 ) stands within the intellectual stream of feminist care ethics literature, it emphasises the visceral in a holistic approach to morality. In the second section of the chapter, the significance of improvisational caring is established by challenging the current concept of the moral domain to
An examination of Godder’s socially engaged art and participatory dance for Parkinson’s work
of knowing and caring for others. The shared sense of responsibility that emerges between the professional dancers and the audience-participants only becomes possible because of the embodiedcaring knowledge that develops between both groups. This knowledge is enhanced and extended further through performances of attentiveness, an element of performance that manifests Tronto’s second ethical element of care.
The performed attentiveness in Stabat Mater creates a situation where the catchers’ bodies become alert and able to respond to minute changes of body
Fluidity and reciprocity in the performance of caring in Fevered Sleep’s Men & Girls Dance
Amanda Stuart Fisher
one of the most poignant examples of performed embodiedcaring that emerges in Men & Girls Dance and takes place through a series of close observations by the girls of the men and by the men of the girls. Emerging at various moments throughout the performance, these are tender exchanges of reciprocity and trust, where the dancers carefully attend to one another, observing and describing what they see, hear and feel. The first of these micro-observations in the version of Men & Girls Dance I saw at the Place commenced with two of the girls standing centre stage