Any discussion of bad costume is therefore a discussion on how costumes are judged to behave in line with expectations, whether agreed or implicit. Yet, I want to suggest that bad costumes can reveal the work of costume that may have otherwise been unseen or dismissed as frivolous. Bad costumes can offer a method for investigating how costumes are judged, understood, and politicised.

Interview with trans artist Ada M. Patterson (b. 1994, Bridgetown) based between Barbados, London and Rotterdam. She works with masquerade, performance, poetry, textiles and video, looking at the ways storytelling can limit, enable, complicate or abolish identity formation.

To talk about ‘trans performance’ is to talk about performances that enact and investigate trans as a political act of affirmation, self-determination, and the felt affects of cis regulation. This paper is a working statement on the stakes at play in arguing the vitality of trans voices and perspectives for our collective social thriving.

Reflecting on writing Beyond Scenography, this essay in English and Portuguese documents the lecture ‘Scenographic Futures’, presented as part of the session PQ TALKS, at PQ 2019, a position statements called ‘Changing the Question’is presented to reflect if rather than asking what is scenography, now the question is what does scenography do?. How scenography affects, channels, and orientate experiences of stage, place, and world.

For the Design Studio for Social Intervention, I consider ‘justice scenographics’ to offer a model for speculating renewed human-world relations based on a climate ceiling model of economics.

My embracing of ‘practice research’ (see Hann 2015) seeks to bring the established positions on conducting research through practice together under one heading. Indeed, I had become tired of the circular arguments that would occur about the differences between practice as/through/based/led research.

This article announces the creation of a new section in STP dedicated to the dissemination of Practice-as-Research (PaR) projects. The authors argue the need for a sustainable archive for PaR outcomes, which embraces a range of media formats and curatorial strategies.

The Festspielhaus Hellerau (1911) is recognized as the first purpose-built “studio “performance space. Scenographer Adolphe Appia and architect Heinrich Tessenow’s architectural legacy is once again an active site of experimentation following a2006 renovation. Moreover, the current artistic residency of William Forsythe’s dance company has continued Appia’s vision for afuture performance practice through an intermedial approach. Importantly, the body, within the work of Forsythe and Appia, remains alocus of artistic convergence as it encompasses the “open “architecture at Hellerau.