In the verbatim theatre performanceThe Disappearances Project(2011–13), Australian company Version 1.0 explored the state of unresolved loss felt by those left behind by missing persons. Rather than relying on verbatim testimony to simply ‘tell’ the stories of the left-behind, directors Yana Taylor and David Williams sought to immerse the audience in an indeterminate world, characterized by pathologies of endless searching and waiting, and a sense of paralysing loss. In this article, I argue that the performance hinged on dramaturgical practices of stillness, slowed movement and friction to produce the disturbing sense of ‘sticky’ indeterminacy characteristic of the experience of the left-behind. To develop this interpretation, I turn to the post-disciplinary field of mobility studies, which highlights the movement (or otherwise) of people, objects, information and capital, as well as embodied experience and sensory and kinesthetic environments. This provides ways to identify and analyse mobility-as-dramaturgy as well as the co-production of affective atmospheres within Disappearances and the wider field of performance.
