Page 105 - the foreign language of motion
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Endnotes Preface
1. Simon Ellis, for example, describes this statement as “oft-quoted” (Ellis, 2005, p.25) Sophia Lycouris writes that it “almost sounds like a manifesto” (Lycouris, 2000, para. 5), and Margaret Werry and Róisín O’Gorman describe their writing as baw- dlerizing Phelan (O’Gorman and Werry, 2012, p. 2).
2. Performance theorists Margaret Werry and Róisín O’Gorman write that, “Performance’s methods of improvisation, rehearsal and experiment assume an accretion of failures as an integral part of the creative process. One must continually make and continually fail in order to create” (Werry and O’Gorman, 2012, p. 2).
3. The term constative is drawn from J.L Austin’s book How to Do Things With Words (Austin, 1962) in which Austin differ- entiates between performative and constative utterances. He describes constative utterances as statements “as the typical or paradigm case” (Austin, 1962, p.132).
Afterword
1. An example of the growth of somatic research in performance studies can be evidenced by the recently released Journal of Dance and Somatic Practices.
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