ABSTRACT

This introduction presents an overview of the key concepts discussed in the subsequent chapters in the second part of this book. The part of the book focuses on projects that examine culturally situated concerns and considers the value of the artistic archive. By re-enacting historic choreography, it builds a bridge from the past to the present, one that is "reactivated in the body." The part is concerned with the artist/spectator's relationship to nature. It covers a range of expressive practice: visual art, dance, applied theatre, immersive theater, environmental art, sonic art, intermedial art, urban interventions, and activism. It is difficult to categorize or systematize a practice that deliberately opens the field for any embodied work seeking new forms and new knowledge. The part testifies to the fact that, though the range of expression may be vast, and the artists may be practicing within wholly independent spheres of engagement and intent, PAR practitioners are generating common ground.