activate is a peer-reviewed electronic journal in the field of performance and creative research. Based in the Department of Drama, Theatre and Performance at Roehampton University, London, it is run by postgraduates as a forum for postgraduate and postdoctoral scholars to publish their work. Each edition focuses on a specific theme and aims to include a range of new critical and performative practices in relation to it.
The contributions to the inaugural issue, On the paper floor: exploring writing practices, share a concern with language “not as a text, but, as an event”, as Tim Etchells, the artistic director of Forced Entertainment, has aptly noted (1999, p. 105). This publication’s aim is to explore the notion of writing as a way of performing as well as the ways that performance is being elaborated through linguistic and writing processes; and in this way, to expand the forms and ways that one can “make writing perform” (Pollock 1998, p. 75).
Issue 1, Vol. 1: Editorial Team: Annalaura Alifuoco, Sarah Harman, R. Justin Hunt (managing editor), Shaun May, Katerina Paramana, Flora Pitrolo, Molly Beth Seremet, Lucy Thane, Veronika Wilson
IN THIS ISSUE:
EDITOR’S NOTE:
While entering the paper floor
Danae Theodoridou
ARTICLES:
Traces of Being: a document of absence in words
Thomas John Bacon
PERFORMED PRODUCTION: how to perform-a-write?
Becky Cremin
Writing and Re-writing: Performance Returns
Eirini Kartsaki
How to Write Protest
Johanna Linsley
Arguing in Tongues
Matthew MacKisack
The Inscription of Art and Everyday Life: How Being Slips into Performance
Tamarin Norwood
Muddle, Muddle Toil and Trouble: Disorder and Potentiality
Katerina Paramana
The performing everyday: Perceptions and Drifts in a modern world
Tom Stone
The Edge of Writing: John Stezaker’s ‘Cinema 1 II’
Nathan Walker
DIALOGUES:
Over to you
Joe Kelleher & P.A. Skantze
Dialogue (To be titled)
Lis Austin & R. Justin Hunt
PERFORMANCE REVIEW:
‘Cuando Los Piedras Vuelen,’ Compañia Rocío Molina
Molly-Beth Seremet
Danae and Justin would like to thank all the contributors, the editorial team, Fiona Wilkie, Simon Bayly, the Department of Drama, Theatre and Performance Studies, Roehampton University, and everyone who has supported our work on this issue.
