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Site-specific performance is produced in non-theatre sites, and aims to engage with the meaning and history or creative impetus of those sites, and reach audiences who might not come to the theatre.

Bagamoyo Festival 2009
Documentary of the 2009 Bagamoyo Festival.
Filmed in Kalimantan (Indonesian Borneo), Body Without a Brain is a high-risk, physically demanding dance for camera. Rianto seems to be in a trance as he creates an unpremeditated encounter with the elements. He describes the work as like a tree without roots. The piece embodies anxiety as the natural world becomes ever more threatened.
Pearson 1
Pearson takes a group of practitioners through the many exercises that formed the central concerns of Brith Gof. These include physical training, spatial and temporal awareness and group choreography.
Meetings poster asset
Katharina Seyferth introduces the forest-based work space of Brzezinka, as she recounts her experience of Grotowski's post-theatrical research known as "Paratheatre" and "Theatre of Sources."
Conquest and Prison
Conquest and Prison is a two-part suite of site-specific dance films set in Grahamstown, South Africa. The two oldest historical sites in Grahamstown are Ft. Selwyn and the Old Gaol, which imprisoned thousands of black South Africans. The choreography of Part I "Oscar's Journey" is Oscar Buthelezi's personal response to the history of colonialism commemorated at Ft. Selwyn. Part II "Child's Play" is similar to the approach in "Oscar's Journey." "Chorographers Lorin Sookool and Julia Wilson reflect on the past as the sounds and images of the gaol continue to echo and resonate today.
This piece is an excerpt from a half-hour documentary shot in Grahamstown, South Africa, during the annual National Arts Festival ( Interviews were conducted with a wide range of choreographers.   This selection focuses on up-and-coming artists Julia Wilson, Lorin Sookool,  Athena Mazarakis, and Kamogelo Molobye.  The works are inspired by challenges facing women, gays, and lesbians in contemporary South Africa. 
Directions for Directing—Directing Shakespeare at “Hamlet’s Castle”
Lars Romann Engel, artistic director of “HamletScenen,” in conversation with Dr. Anne Sophie Refskou, lecturer at University of Surrey, describes his process of working on Shakespeare’s Hamlet. He analyzes the process of working with the text and understanding the context of the play and its significance today. The interview took place in Elsinore, Denmark, in August 2017.
Garzienice natural environment thumbnail
This film, shot in the early part of the 1990s by leading Polish film-maker Jacek Petrycki, shows Gardzienice on the road in the Carpathian mountains in the Ukraine, rehearsing and training.
Kitchen Show
A performance piece which saw Baker open her kitchen to the public and display a set of live actions, making performance from everyday tasks which nevertheless require skill, dexterity and endurance.
Rasa Dari Tari/The Soul of Dance
The Soul of Dance is an introduction to the vibrant diversity of contemporary dance in Indonesia. Rooted both in tradition and the idioms of modern movement this half hour documentary introduces audiences to work ranging from site-specific solos to multimedia musical theater.
Trolley Dances
Jean Isaacs presents an annual festival of site-specific dance in San Diego, CA. Original dances are created alongside San Diego’s iconic red trolleys. The special energy of this event comes from interaction of artists immersed in the community. In this project art and "real-life" are not rigidly distinct realms. The documentary takes a behind the scenes look at the months long process of creation.
by McPherson, Katrina
Mike Pearson, Professor of Performance Studies at Aberystwyth University, has been creating physical and site-specific works since 1971. He was Artistic Director of pioneering Brith Gof from 1981–97.

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Mike Pearson, Professor of Performance Studies at Aberystwyth University, has been creating physical and site-specific works since 1971. He was Artistic Director of pioneering Brith Gof from 1981–97.
Environmental theatre, like site-specific work, aims to alter the conventional spatial practices of performance and to enhance the performance’s engagement with its space and site of production.