9 June 2017 | MAP 1: WATERWAYS at the Palazzo Pisani Santa Marina; Venice by Lynn Lu

1 stand well laundry YunTeng sm.jpg

On 9 June 2017 - as part of the MAP1: WATERWAYS - I will perform Be afraid only of standing still alongside Boedi Widjaja, Libita Clayton, and Paul Maheke.

MAP 1: WATERWAYS is a public live art programme that connects diasporic notions across Singapore, UK and Italy. Conceived by curator Annie Jael Kwan in collaboration with Something Human. WATERWAYS is presented in collaboration with Beyond the Frame, a project led by International Curators Forum (ICF) and University of the Arts London (UAL) alongside the Diaspora Pavilion exhibition, curated by David A. Bailey and Jessica Taylor, that is currently installed at Palazzo Pisani Santa Marina in Venice from 13 May – 26 November 2017.



Photo credit: Annie Kwan. Part of MAP1: Waterways curated by Something Human.

Empathy and Resonant Relationships in Performance Art | Essay in new book by Lynn Lu

Experiencing Liveness in Contemporary Performance: Interdisciplinary Perspectives

Edited by Matthew Reason and Anja Mølle Lindelof

Published by Routledge

You can buy the book here.

This volume brings together dynamic perspectives on the concept of liveness in the performing arts, engaging with the live through the particular analytical focus of audiences and experience. The status and significance of the live in performance has become contested: perceived as variously as a marker of ontological difference, a promotional slogan, or a mystical evocation of cultural value. Moving beyond debates about the relationship between the live and the mediated, this collection considers what we can know and say about liveness in terms of processes of experiencing and processes of making. Drawing together contributions from theatre, music, dance, and performance art, it takes an interdisciplinary approach in asking not what liveness is, but how it matters and to whom.

Full Contents list:

Part 1: Audiencing


1.      Coming (a)live: A Prolegomenon to any Future Research on ‘Liveness’

Martin Barker

2.      Orange Dogs and Memory Responses: Creativity in Spectating and Remembering

Katja Hilevaara

3.      Fandom, Liveness and Technology at Tori Amos Music Concerts: Examining the Movement of Meaning within Social Media Use

Lucy Bennett

4.      Social and Online Experiences: Shaping Live Listening Expectation in Classical Music

Stephanie E. Pitts

5.      The Meaning of Lived Experience

Paddy Scannell

6.      Affect and Experience

Matthew Reason


1.      Live Art, Death Threats: The Theatrical Antagonism of First Night

Alexis Soloski

2.      Attention as a Tension: Affective Experience between Performer and Audience in the Live Encounter

Victoria Gray

3.      Empathy and Resonant Relationships in Performance Art

Lynn Lu

4.      Embodied Traces: Co-presence, Kinaesthesia and Bodily Inscription

Imogene Newland

5.      An Experience of Becoming: Wearing a Tail and Alpine Walking

Catherine Bagnall

6.      Sisters Academy: Radical Live Intervention into the Educational System

Gry Worre Halberg

7.      One-to-One Performance: Who’s in Charge?

Sarah Hogarth and Emma Bramley

8.      A Performatic Archive

Kerrie Reading

9.      Theatre of Bone

Rebecca Schneider


Part 2: Materialising


1.      What is a Live Event?

Gary Peters

2.      Improvising Music Experience: The Eternal Ex-temporisation of Music Made Live

Steve Tromans

3.      The Place of Performance: A Critical Historiography on the Topos of Time

Jonah Westerman

4.      Objectifying Liveness: Labour, Agency and the Body in the 11 Rooms Exhibition

Lisa Newman

5.      Reconsidering Liveness in the Age of Digital Implication

Eirini Nedelkopoulou

6.      Environmental Performance: Framing Time

Anja Mølle Lindelof, Ulrik Schmidt and Connie Svabo


1.      Three Performances: A Virtual (Musical) Improvisation

Mathias Maschat and Christopher Williams  

2.      Chronography

Craig Dworkin

3.      Memory, Time and Self: A Text Work based on a Conceptual Performance

Paul Forte

4.      Broken Magic: The Liveness of Loudspeakers

Dugal McKinnon

5.      Managing Live Audience Attention in the Age of Digital Mediation:The Good, The God and The Guillotine:

Martin Blain

6.      Enlivened Serendipity

Allen S. Weiss

7.      National Theatre Wales’s Coriolan/us: A ‘Live Film’

Mike Pearson

8.      Machines in Queer Gardens: Performance as Mixed Surreality

Judd Morrissey and Mark Jeffery


So Close and Yet So Far Away: The Proxemics of Liveness

Philip Auslander