Sublime

exclusivity rather than inclusivity,

what they say about contemporary culture, what they can actually do for audiences, and what they can offer contemporary social relations.

Socially turned theatre and performance, likewise, actively engage their audiences.

art theorist Claire Bishop has called ‘the social turn’ in contemporary art (Bishop, 2006b).

to extend this invitation to engage socially very widely, across all audiences equitably, perhaps even democratically.

‘relational aesthetics’

‘thus creates, within its method of production and then at the moment of its exhibition, a momentary grouping of participating viewers’ (p. 58).

– social engagement and equality of opportunity – are, for me, two of its most precious possibilities.

to contextualize these socially engaged art and performance practices in broader social and material contexts in order to consider not only what kinds of opportunities for what qualitative experiences of participation the art practices ‘themselves’ offer audiences, but also, importantly, how those opportunities are affected by the practices’ social