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Saturday March 16 | 10:30 - 12:15
De Brakke Grond | Steegzaal
Laura Hartnell is a PhD candidate at the Centre for Theatre and Performance at Monash University, Australia. Her current practice-based research project investigates the intersections of feminist performance theory, and affect theory. She has also presented internationally on feminist performative writing, and will be an artist in residence with the performative writing and archive project Scribe at the 2019 European Congress for Qualitative Inquiry. Laura is an award-winning playwright, dramaturg, and theatre critic.
Have you had the experience of witnessing a performance, and being almost drunk with affect? How to explain this force, this shimmering, this intensity that shapes your experience and memory of a performance? The only person who will ever be able to feel through this moment is you, in all your messy subjectivity.

This workshop seeks to intervene in this subjective and sometimes lonely experience, inviting participants to conjure the affective memory of a performance, and write about it from within that affect so that their bodily experience may be shared.

Embodying the philosophy of écriture féminine as set out by Hélène Cixous, Luce Irigaray and Julia Kristeva, participants will be led through a meditative, affective visualisation exercise which seeks to intervene in the perceived importance of the mind and cognition in a conference setting. Instead of processing experience in a cognitive-first approach, participants will be invited to become intoxicated by the body as both an affective holder of the present and a feeling-first rememberer of the past. In re-connecting with the bodily/affective memory of a performance, participants will be guided through a writing exercise that privileges the body as a meaning-creator and aims to allow this affect to be (re)performed through language.

This workshop argues for affect in the process of remembering and reflecting on performance. It provides participants with affective writing and remembering processes, which they can use to intervene in the logocentric and patriarchal approaches so often inherent to the creation, description, and analysis of theatre, performance, and philosophy.

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