ABSTRACT
The chapters’ diverse geographical localizations and individual perspectives are all framed by a disability lens, what American bioethicist Rosemarie Garland-Thomson introduces as the cultural resource of disability. She argues for ‘integrating disability as a category of analysis, an historical community, a set of material practices, a social identity, a political position, and a representational system’. International collaboration is therefore essential to establish contact and meaningful dialogue with peers. Advocating for remote participation in conferences, for example, became a reality for everyone. Cultural institutions and especially international festivals are under pressure to develop new, ecologically sustainable and ‘pandemic-resilient’ forms to show performative works. The discourse on mobility in theatre and dance as mobile and ephemeral art forms is also linked to the current debate on climate change and ecological sustainability that has been adopted in the arts. The question of travel is closely linked to the debate about the possibilities of digitizing theatre and dance productions for the stage.
