Abstract
© 2011 Jennifer Parker-Starbuck Over the course of three days at the London International Festival of Theatre (LIFT) 2010, I played electric guitar, competed in an all-audience video game on a controller at my seat, and, as warm water rose to my ankles at the end of my online conversation with a young Indonesian man, I got my feet wet—my body became a part of each of these performances. LIFT is a festival that, since its establishment in 1981 by Rose Fenton and Lucy Neal, has variously engaged with questions of internationalism, of childhood, and of the city itself. The festival, which has run intermittently, in 2010 returned to a full festival after years of other smaller projects (see their “living archive” at www.liftlivingarchive.com /lla/). The festival had previously featured productions by The Wooster Group, Romeo Castellucci and Societas Raffaello Sanzio, Lemi Ponifasio’s company MAU, and in 2010 presented companies from Israel, Tunisia, Canada, Australia, and elsewhere. Amidst the eighty or so productions featured in this year’s LIFT festival, I specifically tried to narrow down the choices and attend ones that were media-based.
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