We want performance to seduce us, and in its own way, performance wants to seduce us. But
what forms of intimacy do these circuits of desire model or deliver, and what might they reveal
about intimacy on a wider level? I address these questions by considering three performances
that pivot on relationships of touch, flirtation, and whispering — forms of intimate contact that
slip into, and back on, one another: Glasgow based performer Adrian Howells’s 'Foot Washing for the
Sole' (2008); Belgian theatre company Ontroerend Goed’s 'Internal' (2007); and German-British
artist Tino Sehgal’s 'These Associations' (2012)
