Dance group
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Latest research outputs
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...whispers
Kindred, H. 2019. ...whispers.Digital or visual media
‘…wind in my hair, I feel a part of everywhere…’: creating dance for young audiences narrates emplacement
Akinleye, A. 2019. ‘…wind in my hair, I feel a part of everywhere…’: creating dance for young audiences narrates emplacement. Journal of Dance and Somatic Practices. 11 (1), pp. 39-47. https://doi.org/10.1386/jdsp.11.1.39_1Article
'Exposure' working title sharing of practical research in March 2018
Woodhouse, A., Broadhead, C. and Sandiland, N. 2018. 'Exposure' working title sharing of practical research in March 2018. Exposure - research using a thermal imaging camera. Coventry University 23 Apr 2018Conference item
(de)figured in Dubai installations
Woodhouse, A. and Rackowe, N. 2019. (de)figured in Dubai installations. Alserkal Lates.Artefact
(De)figured Installation performance research
Woodhouse, A. and Rackowe, N. 2018. (De)figured Installation performance research. White City Place, 195 Wood Lane, London W12 7FQ 01 Jun 2018Show or exhibition
(Re)marking the overlooked or, Stanislavski's napkin
Melrose, S. 2001. (Re)marking the overlooked or, Stanislavski's napkin. Performance Research. 6 (2), pp. 4-19.Article
(Un)touched
Woodhouse, A. and Rackowe, N. 2016. (Un)touched.Portfolio
(Un)touched
Woodhouse, A. and Rackowe, N. 2016. (Un)touched. Lobby One Canada Square, Canary Wharf 09 Feb 2016Performance
(Un)touched - floor piece at the National Museum of Belgrade as part of IFTR 2018
Woodhouse, A. and Rackowe, N. 2018. (Un)touched - floor piece at the National Museum of Belgrade as part of IFTR 2018. IFTR 2018: World Congress, National Museum of Belgrade 09 - 12 Jul 2018Show or exhibition
(Un)touched (floor) installations
Woodhouse, A. and Rackowe, N. 2019. (Un)touched (floor) installations. CODA International Dance Festival.Artefact
(Un)touched phase 1
Woodhouse, A. and Rackowe, N. 2014. (Un)touched phase 1. Lakeside Gallery, Nottingham 26 - 30 Jul 2014Show or exhibition
(Un)touched...research phase 2
Woodhouse, A. and Rackowe, N. 2015. (Un)touched...research phase 2. Inside Out Festival, G11, Oxo Tower Wharf, South Bank, London, UK 20 - 21 Oct 2015Show or exhibition
[h]interland GDA, and touring as [h]interland 2.
Jeyasingh, S. 2002. [h]interland GDA, and touring as [h]interland 2. Greenwich Dance Agency and touring nationally.Performance
A cautionary note or two, amid the pleasures and pains of participation in performance-making as research.
Melrose, S. 2011. A cautionary note or two, amid the pleasures and pains of participation in performance-making as research. Participatory Research & Learning in the Performing Arts. Centre for Creative Collaboration London 06 May 2011Conference keynote
A semiotics of the dramatic text
Melrose, S. 1994. A semiotics of the dramatic text. Basingstoke Macmillan.Book
After Kaprow: The silent room; and, Book of journeys
Butcher, R. 2012. After Kaprow: The silent room; and, Book of journeys. The Place, London 15 - 17 Nov 2012Performance
Allan Kaprow's 18 happening in 6 parts
Butcher, R. 2010. Allan Kaprow's 18 happening in 6 parts. London, UK 26 - 28 Nov 2010Performance
Animating architecture: foliage chorus.
Jeyasingh, S. and Watt, J. 2005. Animating architecture: foliage chorus.Digital or visual media
ArtsCross Beijing 2012: light and water
Bannerman, C., Beijing Dance Academy (BDA), ResCen Research Centre, Middlesex University (ResCen) and School of Dance, Taipei National University of the Arts (TNUA) 2012. ArtsCross Beijing 2012: light and water. Beijing, China 2012Performance
Ausdruckstanz
Kolb, A. 2016. Ausdruckstanz. in: Woitas, M. and Hartmann, A. (ed.) Das große Tanzlexikon: Personen - Werke - Tanzkulturen - Epochen Laaber. pp. 33-36Book chapter
Before the posthuman can take [its] place: performing place and person in the early 21st century
Melrose, S. 2002. Before the posthuman can take [its] place: performing place and person in the early 21st century. Performance Arts International e-journal.Article
Between
Woodhouse, A. and Broadhead, C. 2011. Between. Trinity Laban Bonnie Bird stage 24 Jan 2011Show or exhibition
Between (2011): Intimacy and spectacle in tension ans dialogue
Woodhouse, A. and Broadhead, C. 2018. Between (2011): Intimacy and spectacle in tension ans dialogue. in: Brown, C. and Longely, A. (ed.) Undisciplining Dance in Nine Movements and Eight Stumbles Auckland Cambridge Scholars Publishing. pp. 138-150Book chapter
Between stage and literature: romantic ballet’s narrative strategies.
Bernkopf, A. 2011. Between stage and literature: romantic ballet’s narrative strategies. Working with stories: Narrative as a Meeting Place for Theory Analysis and Practice.Article
Bodies without bodies
Melrose, S. 2006. Bodies without bodies. in: Broadhurst, S. and Machon, J. (ed.) Performance and Technology: Practices of Virtual Embodiment and Interactivity Basingstoke Palgrave Macmillan. pp. 1-12Book chapter
Bodyscreening
Nichol, C. 2018. Bodyscreening. PhD thesis Middlesex University DancePhD thesis
Border identities
Akinleye, A. 2018. Border identities. Animated. Spring (2018), pp. 9-13.Article
Breathbone
Midgelow, V. and Bacon, J. 2019. Breathbone. Nottingham 09 - 13 Oct 2019Performance
Bruise blood.
Jeyasingh, S. 2009. Bruise blood. London, UK 21 - 22 Oct 2009Performance
Cinderella, the beauty myth and a feminist conundrum
Bernkopf, A. 2019. Cinderella, the beauty myth and a feminist conundrum. in: Weedon, A. and Darwood, N. (ed.) Storytelling: Cultural and Creative Transformations of Cinderella Wayne State University Press.Book chapter
Classic cut
Jeyasingh, S. 2012. Classic cut.Performance
Close Distance
Woodhouse, A., Broadhead, C. and Sandiland, N. 2017. Close Distance. Wollaton Hall, Nottinghamshire 08 Mar - 01 May 2017Show or exhibition
Closer to the body: reflections on skript and extracts from collected writings
Bacon, J. and Midgelow, V. 2014. Closer to the body: reflections on skript and extracts from collected writings. Choreographic Practices. 5 (1), pp. 73-94. https://doi.org/10.1386/chor.5.1.73_1Article
Collaboration, democracy and the total artwork
Kolb, A. 2015. Collaboration, democracy and the total artwork. in: Colin, N. and Sachsenmaier, S. (ed.) Collaboration in Performance Practice: Premises, Workings and Failures London Palgrave Macmillan. pp. 51-74Book chapter
Collaborative ethics in practice-as-research
Bannerman, C. and McLaughlin, C. 2009. Collaborative ethics in practice-as-research. in: Fuschini, L., Jones, S., Kershaw, B. and Piccini, A. (ed.) Practice-as research In performance and screen Basingstoke Palgrave Macmillan.Book chapter
Constitutive ambiguities: writing professional or expert performance practices, and the Theatre du Soleil, Paris
Melrose, S. 2006. Constitutive ambiguities: writing professional or expert performance practices, and the Theatre du Soleil, Paris. in: Kelleher, J. and Ridout, N. (ed.) Contemporary theatres in Europe Routledge. pp. 120-135Book chapter
Counterpoint
Jeyasingh, S. 2010. Counterpoint.Performance
Court
Broadhead, C. and Woodhouse, A. 2003. Court. Court toured to 13 venues across the UK including: Angel Row Gallery, Nottingham 13-18 January, 2005; Yorkshire Sculpture Park 16-20 November 2005; Sadlers Wells Theatre, London 16,17,18 November 2006. 26 Jun 2003Show or exhibition
Creative Articulations Process (CAP)
Bacon, J. and Midgelow, V. 2014. Creative Articulations Process (CAP). Choreographic Practices. 5 (1), pp. 7-31. https://doi.org/10.1386/chor.5.1.7_1Article
Creative articulations process: a rhizomatic practice
Bacon, J. and Midgelow, V. 2014. Creative articulations process: a rhizomatic practice. Choreographic Practices 5(1), 1 April 2014 Intellect.Portfolio
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