Exhalations: Performance and Crisis. Completion of monograph

这份申请是为了完成一份名为“呼气：性能和危机”的专题论文。这本专著所依据的研究询问了绩效学者如何在危机情况下进行研究和实践，以及他们随后如何传达这些遭遇的发现。它质疑了一系列不同的表演时刻，从小到大（对悲伤的分析）。每一个例子都旨在将绩效分析置于当代危机调查的核心，以发现体现和实践的抵抗形式。危机情况下的绩效项目通常使用创伤，讲故事和证词研究中出现的话语来解释。“呼气”试图挑战这些框架，并重新谈判在危机地区的表演项目中讲故事的特权地位。它将质疑这些类别所依据的学科，并主张进行更具文化和历史敏感性的分析。呼气是用来描述研究人员/从业者遇到批判性挑战时表现出的沉默，口吃和文字斗争的术语。它也被用来表示在社区或面临危机的人中说话和沉默之间的位置。因此，呼气是非一体性的标志：当话语不是以文字而是以身体中情感的颤抖开始时。在这项研究中，它们被验证为中心的方法论方法。这种说法是，在写作的冲击，理论见解和学习显示，并希望分享。这种方法试图将研究和后续写作建立在研究者努力说话的时刻--研究危机的时刻--因为这反映了危机的表现，而危机是本书的核心主题。章节结构将故意采用情节式，每一节都在发展论证，但也在转移基础和焦点。每一本书都以“呼气”为序--一种基于研究或实践的遭遇，这种遭遇本身就是促使分析的危机。IPOW在撰写本文时仍在继续，在其最后一年（2007年），我们将完成一本编辑过的书，名为《性能：战争的地方》。这将由迈克尔·鲍尔弗、珍妮·休斯和我自己编辑，并在我的机构休假期结束时（2007年12月-与项目结束一致）提交给海鸥出版社。在项目结束后获得研究假，可以完成这一额外的出版物。这将是我的第二本与IPOW有关的专著（第一本是《挖掘故事：应用戏剧、表演与战争》，曼彻斯特大学出版社）。因此，新的研究和随后的专著与国际职业妇女计划有着同样的关切，并将对冲突地点的业绩提出质疑，但它正在将这些辩论扩大到危机局势（不仅仅是武装冲突）中的业绩。此外，它还试图为绩效研究中关于如何编写绩效的辩论做出贡献。它认为，写作表现的问题，揭示在一个特别尖锐的方式时，考虑在危机时刻的表现。因此，《呼气》发展了《在战争的地方》中出现的理论主题，然后将其扩展到更广泛的写作表演主题和表现痛苦和苦难的问题。

This application is for research leave to complete a monograph called 'Exhalations: performance and crisis'. The research on which the monograph is based asks how performance scholars research and practise in situations of crisis, and how they subsequently communicate the findings from these encounters. It questions a diverse set of performance moments, moving from the small (analyses of grief) to the broad (Rwandan genocide memorials). Each example aims to place performance analysis at the heart of contemporary investigations of crisis to discover forms of resistance that are embodied and practised. Performance projects in situations of crisis are often explained using the discourses emerging from trauma, storytelling and testimony studies. 'Exhalations' seeks to challenge these frameworks and renegotiate the privileged place of storytelling in performance projects in crisis zones. It will question disciplines on which these categories are based and argue instead for a more culturally and historically sensitive analysis.Exhalation is the term used to describe the silences, stutters and word-struggles that are exhibited as a researcher/practitioner meets the critically challenging. It is also used to signify the place between speaking and silence in the community or person facing crisis. Exhalations are thus the marks of undoneness: when discourse starts not as words but as an affective shudder in the body. They are validated in this research as the central methodological approach. The claim is that in writing the shock, theoretical insights and learning are displayed and hopefully shared. The method seeks to base the research and subsequent writing at the moment of the researcher's struggle to speak - at the moment of research crisis - as this mirrors the performances of crisis that are the core subject of the book.The chapter structure will be deliberately episodic with each section developing the argument but also shifting ground and focus. Each is prefaced by an 'exhalation' - a research or practice-based encounter that is in itself the crisis that prompts the analysis.This monograph expands upon research completed during the AHRC funded In Place of War (IPOW) project. IPOW continues at time of writing and in its final year (2007) we will complete an edited book called 'Performance: In Place of War'. This will be edited by Michael Balfour, Jenny Hughes and myself and be submitted to Seagull Press at the end of my institutional leave period (December 2007 - coinciding with the end of the project). Securing the research leave beyond the end of the project allows for this additional publication to be completed. This will be my second monograph connected to IPOW (the first being 'Digging Up Stories: Applied Theatre, Performance and War', Manchester University Press). The new research and the subsequent monograph thus shares concerns of IPOW and will be questioning the place of performance in sites of conflict, but it is extending these debates into performance in situations of crisis (not just armed conflict). In addition, it is seeking to make a contribution to debates within performance studies about how to write performance. It argues that questions about writing performance are revealed in a particularly acute way when considering performance in moments of crisis. 'Exhalations' thus develops the theoretical themes emerging from 'In Place of War' and then extends them into broader themes of writing performance and the problematics of representing pain and suffering.