University of Kent at Canterbury
introduces Fran Barbes experience of the theatre philosophy and
training system of Japanese theatre director, Tadashi Suzuki. It makes
a case for the vital importance of sustained, long-term and practice-based
research into a method such as Suzukis, drawing attention to the
gap between the theoretical and practical comprehension of such a highly
Frances Barbe is a Research Fellow at the University of Kent at Canterbury and recipient of an AHRB Daiwa Anglo Japanese Foundation Creative Fellowship. The Japanese models of Butoh dance and Suzuki have influenced her theatre practice for some eight years. Her company, Tanden, explores ensemble physical performance across a variety of disciplines. Barbe also performs Butoh for Butoh Mamu, based in Germany and recently joined Katsura Kan and the Saltinbanques in Edinburgh. She is co-founder of Theatre Training Initiative, a London based training organization.
is a three-year research project which aims to explore the complexities
of the plays between dancing and writing texts, focusing on the question:
how does thought move and how does movement think? The research outcomes
include live performance, writing, film and the creation of a CDRom.
Valerie A. Briginshaw
is a Reader in Dance at University College Chichester. Her book Dance,
Space and Subjectivity (2001) applies poststructuralist theories to postmodern
Emilyn Claid, Research Fellow in Creative & Performing Arts (AHRB and the University of Surrey). As performer, choreographer, director and academic, Emilyn works between the arenas of academia and dance theatre performance.
The Cinema of Comic
The Cinema of Comic
Illusions is the latest in a series of projects that originate in the
documentary genre. It produces audio-visual sensations that offer
through the process of selection, variation, repetition and deviation
both a loose narrative in line with the structural patterns of
early cinema. Documentary interviews are seen as performance between maker
and participants akin to the state of no conflict experienced
in physical theatre. Documentary can be relevant and meaningful to a modern
David Furnham comes from a social arts, historical documentary background (PhD 1999 Documentary Practice) and has produced documentary for Channel 4. He is currently engaged with applying these interests as original exhibition / performance cross art events.
The artist in the
academy: the work of half/angel in Ireland
The performance production
company half/angel was founded in 1995 by Jools Gilson-Ellis and Richard
Povall. half/angel develops projects involving new technologies, sound,
text and performance. Previous work includes the CD-Rom mouthplace (1997),
and the dance-theatre production The Secret Project (1999). This performance
presentation explores the ways in which this practice has been conceived
of and interpreted as research in an Irish context.
Jools Gilson-Ellis is a writer, choreographer, performer and installation artist based in Ireland. She is co-director (with Richard Povall) of the performance production company half/angel, and teaches performance at University College Cork. She holds a practice-based PhD in Theatre & Performance Studies from the University of Surrey.
The presentation will
be an extract from the film aroundthebend, a collaboration between choreographer
/ performer Beatrice Allegranti and filmmaker Ron Hagell.
Ron Hagell is a lecturer
at Royal Holloway and a former PBS (USA) director. His creative work includes
dance and performance for camera. Currently, Ron is creating digital still
and time-based works.
Beatrice Allegranti BA (hons) MA DMT SRDMT, performer, choreographer and senior registered Dance Movement Therapist. On the faculty at University of Surrey Roehampton and Drama Studio London. Extensive clinical experience includes group and individual work for the NHS. Specialist area of research is gender, which includes an ongoing research-performance project entitled personaltext / publicbody (1999).
trajectory in the practice of research
I shall sketch the
background of practice at Exeter, and the emphasis on process, carried
through the undergraduate degree to the MA. But recent changes at research
level (PhD in Performance Practice) require new thinking. I discuss case-studies
in development, and suggest that the determination of a trajectory for
activity should replace anxiety over the relationship between practice
and dance performance
We will explore phenomenal
dualities in dance performance focusing on multiple interpretations that
have both intrinsic and extrinsic possibilities. The duality between expressive
and analytic documentations will be emphasized with various examples.
A range of documentations will be given for a particular dance-based research
project, which will then be performed.
Jeffrey Scott Longstaff advises research degrees, teaches movement analysis and is resident musician at Laban Centre London. His research into Laban's choreutics has been published in Perceptual and Motor Skills.
This looks at the
potential for innovative responses to practice as research within journal
publication, from my experience of editing Performance Research
over the past six years. The paper is not offered from a position of editorial
authority, but from the experience realizing visual and textual work for
Claire MacDonald is a founding editor of Performance Research. She is Visiting Assistant Professor in the College of Visual and Performing Arts at George Mason University in northern Virginia.
in electronic theatre
An applied research
project in interactive arts is described. Code as artistic material and
theoretical laboratory is discussed. An artist's software project is developed
within the creative process of a multi-media theatre production. Changes
in this creative process and methodology as a result of the expanded possibilities
provided by CompoundEye are discussed.
Kenneth Newby, Assistant
Professor, Interactive Arts, Technical University of British Columbia,
Surrey, B.C., Canada. With a focus on software design as artistic practice,
Kenneth's current research involves the development of compositional environments
for multi-modal interactive artworks.
Aleksandra Dulic, PhD candidate, Interactive Arts, Technical University of British Columbia, Surrey, B.C. Canada. Aleksandra's research interests include responsive cinema and multi-modal scenography in electronic theatre.
attempts a performative circuit, looping through practice and theory in
an act of techno-ventriloquism that stages presence and dialogue writing.
lawful acts will be performed by Ptacek and Emma Jean, a core member
of the Artificialstage ensemble.
Karla Ptacek, a second year practice-based Mphil/Phd researcher at University of Surrey, Roehampton, stages Webplays at www.artificialstage.com.
This short presentation
will focus on the use of DVD technology to address certain problematic
issues of documentation and dissemination within practice as research
in performance. It will look at the interactive possibilities provided
by this medium to produce a self-conscious record and overcome
the monocular point of view of conventional video documentation. In addition,
the advantages of a multi-data, disk-based format as a mode for research
presentation will be discussed.
Caroline Rye works part time as a research associate with the PARIP project where she is primarily concerned with the uses of new technology for the documentation of performance. She also has a practice as an artist working in multi-media performance and time-based installation and holds a PhD by Practice from Napier University, Edinburgh.
effort of speaking about Lady Audleys Secret
Using the sensational
melodrama Lady Audley's Secret the presentation aims, initially,
to show how sensationalism is created as kinaesthetic affect, by using
the format of the talk. But this then produces a problematization of the
decorum of the academic talk and its rhetorical norms, leading into embarrassment,
which is perhaps neither practice nor research.
Simon Shepherd is Director of Programmes at Central School of Speech and Drama. Formerly Professor of Drama at Goldsmiths College, and before that Nottingham University, he is author, with Mick Wallis, of Studying Plays and of English Drama: A Cultural History (with Peter Womack).
Drama making as
a research process
Drama making clearly
does not conform to a scientific research paradigm, yet a comparison of
the two methodologies might be fruitful in understanding how drama making
can be regarded as research. This presentation will examine this issue
with reference to a variety of drama making processes.
John Somers works in Exeter's Drama Department. He is editor of the journal Research in Drama Education and director of the conference Researching Drama and Theatre in Education.
has developed out of recent work concerned with the use of writing as
documentation of performance and the negotiation between approaches to
performance practice and the practice of theory. The paper is structured
around some performance texts and it considers the ways in
which our own bodies and the bodies of others become written into our
Fiona Wright (b. London 1966) has been making primarily solo performances for over ten years. She also works as a lecturer, connected mostly with the Contemporary Arts course at The Nottingham Trent University where she is now a postgraduate research student.
When I began practice-based
research at Dartington, I began to form an impression that this is what
we should have been doing all along. Or rather, what we have all been
doing. We would know this if we repositioned the paradigm of practice
and research, emphasizing their similarity and co-dependency. I make the
point that practice IS research (and research IS practice) and the use
of simile (AS) only weakens the issue. Practice-based research degrees
should be accepted as normality, not anomaly.
Toby Yarwood is currently undertaking practice-based research at Dartington College of Arts which looks at theory: manipulation of chronological perspective, the dismemberment and confluence of time with location; and practice: performance areas rendered interactive to virtual immersion of viewers, mediated via video screens. He also works part time in the Department of Drama, University of Bristol.