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his essay engages with domestic performances\u2014that is, works performed in private homes\u2014to explore the notion of domesticity within a political context, specifically in Israel. As a form of site-specific performance, domestic performance usually shifts among different modes of realization, which may include situating performance in a hosting house (whether authorized or unauthorized); pointing to biographical, historical, cultural, and political analogies between the house as “host” and the situation as “ghost”; or actively creating a home space.1<\/a><\/sup> Site-specific performance made its appearance on the Israeli art scene in the late 1960s, but it is only since the early 2000s that it has become a widespread phenomenon,2<\/a><\/sup> with domestic site-specific works becoming prevalent in the second decade of the 2000s.3<\/a><\/sup> Such works were prominent, for instance, in the In-Home Festival in Jerusalem, which has taken place annually since 2011,4<\/a><\/sup> while domestic performances have also been created as independent ventures \u00a0by Israeli theatres and ensembles, as well as being presented at festivals like the Site-Dependent Festival in Tel Aviv (2010-14). The form’s unique actual and potential aesthetic features, deeply related to the complex psychological, social, and political significance connected with the notion of a home, require much further exploration. Within the Israeli context I analyze The Peacock of Silwan<\/em> by Alma Ganihar and directed by Chen Alon and Sinai Peter; The Apartment<\/em>, an adaptation of Franz Xaver Kroetz’s Request Concert<\/em> staged by Michael Ronen; and Eternal Sukkah<\/em> by the Sala-Manca Group to examine performance that engages with domestic locations as found space<\/em>.5<\/a><\/sup> Unlike scenographic representations of a fictive dramatic home onstage, suited to the architectural space in conventional theatres, domestic space is a kind of ready-made found object (objet trouv\u00e9<\/em>); it can be called a deliberately found space, not one that was “found” accidentally; it can involve a creative transformation, whose traits and their belonging to the domestic space take an active part in modeling the domestic environment and a new frame of reference. Yet, beyond being a venue of site-specific performance, this concept serves me essentially by way of negation: while the site of the domestic performance is a found<\/em> space, it also manifests a lack of domesticity and is often presented as a home unfound<\/em>.<\/p>\n [to the article]<\/a><\/p>\n","protected":false},"excerpt":{"rendered":" his essay engages with domestic performances\u2014that is, works performed in private homes\u2014to explore the notion of domesticity within a political context, specifically in Israel. As a form of site-specific performance, domestic performance usually shifts among different modes of realization, which may include situating performance in a hosting house (whether authorized or unauthorized); pointing to biographical, … Continue reading A Home Unfound: The Political Modeling of the Domestic Performance, by Daphna Ben-Shaul<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":1249,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[13,274],"tags":[277],"class_list":["post-1248","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-press-and-articles","category-eternal-sukka","tag-daphna-ben-shaul"],"_links":{"self":[{"href":"https:\/\/old.sala-manca.net\/index.php?rest_route=\/wp\/v2\/posts\/1248","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/old.sala-manca.net\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/old.sala-manca.net\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/old.sala-manca.net\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/old.sala-manca.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1248"}],"version-history":[{"count":1,"href":"https:\/\/old.sala-manca.net\/index.php?rest_route=\/wp\/v2\/posts\/1248\/revisions"}],"predecessor-version":[{"id":1250,"href":"https:\/\/old.sala-manca.net\/index.php?rest_route=\/wp\/v2\/posts\/1248\/revisions\/1250"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/old.sala-manca.net\/index.php?rest_route=\/wp\/v2\/media\/1249"}],"wp:attachment":[{"href":"https:\/\/old.sala-manca.net\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1248"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/old.sala-manca.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1248"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/old.sala-manca.net\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1248"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}