By the same authors

From the same journal

Letting the Truth Get in the Way of a ‘Good’ Story: Spectating Solo and Blast Theory’s Rider Spoke

Research output: Contribution to journalArticlepeer-review

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Letting the Truth Get in the Way of a ‘Good’ Story : Spectating Solo and Blast Theory’s Rider Spoke. / Quigley, Karen.

In: Journal of Contemporary Drama in English, Vol. 4, No. 1, 12.05.2016, p. 90-103.

Research output: Contribution to journalArticlepeer-review

Harvard

Quigley, K 2016, 'Letting the Truth Get in the Way of a ‘Good’ Story: Spectating Solo and Blast Theory’s Rider Spoke', Journal of Contemporary Drama in English, vol. 4, no. 1, pp. 90-103. https://doi.org/10.1515/jcde-2016-0008

APA

Quigley, K. (2016). Letting the Truth Get in the Way of a ‘Good’ Story: Spectating Solo and Blast Theory’s Rider Spoke. Journal of Contemporary Drama in English, 4(1), 90-103. https://doi.org/10.1515/jcde-2016-0008

Vancouver

Quigley K. Letting the Truth Get in the Way of a ‘Good’ Story: Spectating Solo and Blast Theory’s Rider Spoke. Journal of Contemporary Drama in English. 2016 May 12;4(1):90-103. https://doi.org/10.1515/jcde-2016-0008

Author

Quigley, Karen. / Letting the Truth Get in the Way of a ‘Good’ Story : Spectating Solo and Blast Theory’s Rider Spoke. In: Journal of Contemporary Drama in English. 2016 ; Vol. 4, No. 1. pp. 90-103.

Bibtex - Download

@article{fe2c379eec024395861be2bbc7a072de,
title = "Letting the Truth Get in the Way of a {\textquoteleft}Good{\textquoteright} Story: Spectating Solo and Blast Theory{\textquoteright}s Rider Spoke",
abstract = "This article investigates the solo spectator and her slippery exploration of participation, focusing on Blast Theory's Rider Spoke. This performance work, which has taken place at a variety of UK-based and international locations from 2007 to 2014, encourages a single spectator to cycle alone through the city with a small computer attached to the handlebars, finding 'hiding places', recording messages in response to questions from the computer, and listening to the recordings of others who have explored the performance. This particular blend of one-to-one performance and archival awareness of other one-to-one encounters presents a complex attention to and performance of truth and truth-telling for the spectator, who for me became the 'spectator-performer' over the course of the piece. Focusing on the playfully antagonistic decision to explore the piece in character, and the shift in my spectatorship-performance that occurred in the encounter with another spectator-performer's voice, the article investigates the ways in which the spectator-performer negotiates the performance in relation to variations on the truthful and the autobiographical.",
keywords = "Blast Theory, Rider Spoke, solo spectator, spectatorship, playful antagonism, ethical encounter, Solo spectator, Ethical encounter, Playful antagonism, Spectator as character",
author = "Karen Quigley",
year = "2016",
month = may,
day = "12",
doi = "10.1515/jcde-2016-0008",
language = "English",
volume = "4",
pages = "90--103",
journal = "Journal of Contemporary Drama in English",
issn = "2195-0164",
publisher = "Mouton de Gruyter",
number = "1",

}

RIS (suitable for import to EndNote) - Download

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T1 - Letting the Truth Get in the Way of a ‘Good’ Story

T2 - Spectating Solo and Blast Theory’s Rider Spoke

AU - Quigley, Karen

PY - 2016/5/12

Y1 - 2016/5/12

N2 - This article investigates the solo spectator and her slippery exploration of participation, focusing on Blast Theory's Rider Spoke. This performance work, which has taken place at a variety of UK-based and international locations from 2007 to 2014, encourages a single spectator to cycle alone through the city with a small computer attached to the handlebars, finding 'hiding places', recording messages in response to questions from the computer, and listening to the recordings of others who have explored the performance. This particular blend of one-to-one performance and archival awareness of other one-to-one encounters presents a complex attention to and performance of truth and truth-telling for the spectator, who for me became the 'spectator-performer' over the course of the piece. Focusing on the playfully antagonistic decision to explore the piece in character, and the shift in my spectatorship-performance that occurred in the encounter with another spectator-performer's voice, the article investigates the ways in which the spectator-performer negotiates the performance in relation to variations on the truthful and the autobiographical.

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KW - Ethical encounter

KW - Playful antagonism

KW - Spectator as character

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