Peter Dickinson – författare

Long-awaited new editions of Peter Dickinson’s cult classicsEngland in the future – but an England that is less rather than more civilised. This is the time of The Changes – a time when people, especially adults, have grown to hate machines and returned to a more primitive lifestyle. It is a time of hardship and fear…When 16-year-old Geoffrey, a “weathermonger” starts to repair his uncle’s motorboat, he and his sister Sally are condemned as witches. Fleeing for their lives, they travel to France – where they discover that everything is normal. Returning to England, they set out to discover why the country is under this mysterious spell. Only discovering the origin of the deadly magic will allow them to set the people free of its destructive influence.Peter Dickinson began writing the books after he'd had a nightmare. The trilogy is not sequential; rather, each book explores a different aspect of England during the time that simply became known as The Changes.

In the past decade, Vancouver dance has received tremendous acclaim nationally and internationally, as witnessed by the success of choreographer Crystal Pite and a rejuvenated Ballet BC. But this is only part of a vibrant and diverse story of contemporary movement practices in the city. In My Vancouver Dance History Peter Dickinson crafts an embodied narrative that focuses on his critical and creative collaborations with nine Vancouver-based dance artists and companies. Mixing interview excerpts with fieldwork descriptions of studio research and performance analysis, Dickinson draws on ten years of close observation to delve into the individual histories of select members of this community, while also relating the cumulative story of Vancouver dance production and performance as it has unfolded in the past decade. The voices of other invested participants interpolate this rich history, and chapters are interspersed with a series of "movement intervals" that reflect key moments in Dickinson's history as a spectator, scholar, and collaborator. In innovative ways, Dickinson suggests that when we pay attention to the larger social topography of dance practice - the sites that give rise to it, the labour that goes into it, and the professional friendships it engenders - we can properly understand dance's contributions to civic life.

World Stages, local audiences argues that the forms of intimacy and identification that come from being part of the public of a local performance, provide a potential model for rethinking our roles as world citizens. Using his own experience of recent theatrical practice in Vancouver as a starting point, Dickinson maps the spaces of connection and contestation, the flows of sentiment and social responsibility, produced by different communities in response to global sports spectacles. He also analyses how such topics are taken up in the work of playwrights, conceptual, installation, and performance artists like Ai Weiwei, and Rebecca Belmore. In so doing, Dickinson makes an original contribution to the emerging discourse on live art and 'livability' by examining not only the geographical and historical affiliations between different sites of performance, but also the – at times – radical new social bonds created by audiences witness to those performances.