Weekly ticket Footscray - a fifteen-year audience

This article explores the co-participation of performer and audience in a durational site-specific performance. \u27Weekly Ticket Footscray\u27 is a fifteen- year performance at Footscray Train Station, Melbourne. Starting in February 2016 and continuing until 2031, performer David Wells and myself as performance director create a weekly, two-hour improvised performance. \u27Weekly Ticket Footscray\u27 provides a unique opportunity to provoke new understandings of a contemporary performance outside of traditional venues, conventional audiences and familiar time frames. This article uses the frameworks of \u27slow theatre\u27, \u27proxemics\u27, and artistic and theoretical understandings of the power of conversation to interrogate notions of the relations created by performance

Dancing in public – Weekly ticket footscray

This article describes a durational dance performance at Footscray Train Station, Melbourne, Australia, and the methods used to research and understand the relations created between performer and audience in this context. As performance dramaturg and researcher I participate in each weekly performance, remaining open and mindful of the myriad disturbances and effects of a dance performance in a public space. I have become more and more interested in how audience and performer negotiate physical space and how this effects understandings and a sense of participation. I outline my background as artist and researcher in order to give a context to my understandings and describe the performance, research methodology, and my analysis of two different proxemic zones between performer and audience

Dancing in public - Weekly Ticket Footscray

This article describes a durational dance performance at Footscray Train Station, Melbourne, Australia, and the methods used to research and understand the relations created between performer and audience in this context. As performance dramaturg and researcher I participate in each weekly performance, remaining open and mindful of the myriad disturbances and effects of a dance performance in a public space. I have become more and more interested in how audience and performer negotiate physical space and how this effects understandings and a sense of participation. I outline my background as artist and researcher in order to give a context to my understandings and describe the performance, research methodology, and my analysis of two different proxemic zones between performer and audience