Redux : Speakers : Andrew Quick

Between now and 8 December, we are introducing the speakers for the Redux symposium at Arnolfini. To book tickets for the symposium, click here.

Andrew Quick studied English and Philosophy at Newcastle University and trained as a theatre director at the Sherman Theatre in Cardiff in 1984. Having worked professionally in making and touring experimental performance, he returned to academic study in 1989, completing a PhD investigating the histories and languages of contemporary British experimental performance at Bristol University. He has been teaching at Lancaster since 1991, where he is currently the Director of the Lancaster Institute for the Contemporary Arts (LICA). Together with Professor Elaine Aston he established the Centre for the Advanced Study of Contemporary Performance Practice in 2004 with funds from Lancaster University (CASCPP)). Quick is also a founder member of imitating the dog, an Arts Council funded performance company that tours nationally and internationally. His academic work is closely bound up with contemporary art practices and much of his writing on performance, photography and installation investigates concepts of space, play, documentation, scenography and performance ethics. He has edited a number of significant publications and has contributed chapters and articles to many books and journals on performance and related art practices. His major publications include The Wooster Group Work Book (Routledge 2007), Hotel Methuselah in Theatre in Pieces (Methuen 2011), Kellerman (Presses Universitaires du Mirall, 2011). He also co-edited Shattered Anatomies (ArnolfiniLive, 1997), Time and Value (Blackwell, 1998) and On Memory (Routledge, 2000).

For Redux, Quick will be giving a paper titled ‘The Patina of Performance: Theatre as Living Archive’. He writes:

This paper explores the marks left by the processes of performance making and how these marks score the event of performance itself.  Particular attention will be paid to the way in which the performed interaction with the archive operates in the work of The Wooster Group.  The paper will also map out how theatre is always marked by the archive and how it is always archival.  I will also reflect on the ways in which this archival fever is intrinsically connected to my own practice with imitating the dog.

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