Cover -- Half Title -- Title Page -- Copyright Page -- Dedication -- Table of Contents -- List of Figures -- Acknowledgments -- Prologue -- Dear reader -- Introduction: Performance and what it does to ethnography -- Ethnography of performance/performance ethnography/performed ethnography or The be, been, and being in performed ethnography -- The performance in performance ethnography -- Subjectivity, belonging, and the other: audience as an "echo chamber"--Reflections on oral history and performed ethnography -- Defense of representation -- Note -- Part 1: Embodied technique and practice -- Chapter 1. Embodied technique and practice -- Technique -- Practice -- Interview with Ben Spatz -- Examples of technique and practice -- Case study one: Digital Portobelo with Renée Alexander Craft -- Notes -- Chapter 2. Improvisation -- The inherited body we bring to performance practice -- Key concepts in improvisational acting and performance -- Examples -- Notes -- Chapter 3. Devised theatre -- Ethnographic data and process -- Suggested stages for devised performance -- In summary -- Interview with Honey Pot Performance -- Case study two: the digital in dialogic performance across two continents -- Notes -- Chapter 4. Movement and scenes of body work -- Warm-up improvisations for neutral mask -- Efforts and factors from Laban/Bartenieff -- Improvisation exercises for efforts and factors -- Improvisational exercises for BESS -- The 5Rhythms from Gabrielle Roth -- Augusto Boal and Newspaper Theatre -- Notes -- Part 2: Oral history and personal narrative performance -- Chapter 5: The value of oral history and life story -- Who owns the story? -- Interview with E. Patrick Johnson -- Oral history and narrative as permission, public pedagogy, and provocation -- On truth -- Notes -- Chapter 6: The narrative/narrated event and the anatomy of emotion