This title discusses affective practices in performance through the study of four contemporary performers - Keith Hennessy, Ilya Noé, Caro Novella, and duskin drum - to suggest a tentative rhetoric of performativity generating political affect and permeating attempts at social justice that are often alterior to discourse. The first part of the book makes a case for the political work done alongside discourse by performers practising with materials that are not-known, in ways that are directly relevant to people carrying out their daily lives