In 1993, say, the term Performance Writing, if used at all, suggested simply writing for performance. By 2011, when the author of this collection became the first Professor of Performance Writing, it had attained a much wider-indeed international-currency in discussions of contemporary writing, and had entered the curriculum of a range of courses well beyond its intense first conceptual and pedagogic development at the adventurous Dartington College of Arts. The task-and indeed the task of many of these essays-had been to ...
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In 1993, say, the term Performance Writing, if used at all, suggested simply writing for performance. By 2011, when the author of this collection became the first Professor of Performance Writing, it had attained a much wider-indeed international-currency in discussions of contemporary writing, and had entered the curriculum of a range of courses well beyond its intense first conceptual and pedagogic development at the adventurous Dartington College of Arts. The task-and indeed the task of many of these essays-had been to fill out the terms for an approach to writing that looked beyond and beside literature for its sources, references and material practices. These other frames included: the rapid changes taking place within the technologies for producing, circulating and receiving text; a 'turn to writing' within other cultural practices, especially perhaps its integral presence within visual and sonic culture; the increasing textuality of the shared environment (words in public places, for example); and finally, philosophical preoccupations with the idea of performativity and its entailment with language.
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