Abstract
Rose English has worked in performance since the mid-1970s. Her work touches many and varied issues but most of all it addresses theatre space itself, which she has called an arena ‘like the basin of the mind itself—atavistic, dreamlike and magical. For this issue Performance Research has commissioned artist's pages from Rose English which act as a sort of ‘premonition’ for a show, and invited Lynn MacRitchie, in the second of her articles for us, to trace Rose English's career.
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