‘On Drifting’ looks to return to and rethink the aesthetic and political implications of la derive for theatre and Performance studies and beyond.
In this expansion of the field, the ultimate aim behind the Issue is to stimulate a new dialogue between theatre and Performance studies and the SI, to see what happens when the drift is contextualized within the ‘control societies’ of the Anthropocene.
Rethinking the Derive : Drifting and theatricality in theatre and Performance studiesCarl LaveryDrift Map WorldJulia-Kristina BauerTransforming Cities : On the passage of Situationist deriveDavid PinderRoad DriftNicolas WhybrowDrawing, Adrift : Bengaluru – Mumbai – St IvesCathy TurnerWhere to build walls that protect usStephen HodgeWalking Library for a Wild CityDeirdre (Dee) Heddon, Misha MyersRadiant FuturesLaura Grace FordNew York Drifters : Tehching Hsieh and David WojnarowiczJack ParlettGender Drift : Testo Junkie, queer performativity and molecular becomingStephen GreerTo Drift, to Wave, to WaiveMarielle PelisseroDrifting and CruisingGlyn DavisDrifting with Direction : Going astray in Jean GenetJoanne BruetonQueer Spiritual Drifting : Not at home in The BeguinagePetra KuppersDrifting across the Border : On the radical potential of undocumented im/migrant activism in the USAna Milena RiberoInvitation to DriftAmy SharrocksIndexing the DriftBob HardyFrom Street to Screen : Debord’s Drifting cinemaDavid Archibald, Carl LaveryLouphole : Drifting with wolvesSimon WhiteheadField GuidesMike PearsonErratic Drift : notes towards human-geologicaldriftingMinty Donald, Nick MillarThe Perturbations of Drift in a Stratified WorldDeborah DixonDrift as a Planetary PhenomenonBronislaw SzerszynskiNotes on Contributors.
Equally, Drifting is no longer simply associated with humans -- now, it is configured as something non-human, an activity that animals, rocks and the earth itself are all engaged with permanently.
Rather, it has been expanded to exist as an aesthetico-political category in its own right -- something, then, that is found in theatre, writing, reading, drawing, cinema and indeed language itself.
In this issue, Drifting is no longer simply equated with contemporary walking practices, although these are in no way ignored, especially in terms of gender, sexuality, immigration and able-bodiedness.
Originally posited as a technique by the Situationist International (SI) for overcoming the alienation imposed by the ‘society of the spectacle’, Drifting today has a very different significance and application(s). ‘On Drifting’ looks to return to and rethink the aesthetic and political implications of la derive for theatre and Performance studies and beyond
