Theatre Arts group
| Title | Theatre Arts group |
|---|
Latest research outputs
Sort by Date Title
Here, there, and the question of belonging in a time of revolution
Hussein, N. 2015. Here, there, and the question of belonging in a time of revolution. Contested Exchanged: Space, Place and the Performance of Democracy. Artaud Performance Centre. Brunel University, London. 28 Mar 2015Conference item
Gestures of resistance between the street and the theatre: documentary theatre in Egypt and Laila Soliman’s No Time For Art
Hussein, N. 2015. Gestures of resistance between the street and the theatre: documentary theatre in Egypt and Laila Soliman’s No Time For Art. New Anarchist Research Group Monthly Meeting. Torriano Meeting House, London 25 Apr 2015Conference paper
My City, My Revolution
Hussein, N., Papadelli, V., Goely, M. and Picknett, M. 2015. My City, My Revolution. Rich Mix theatre, London 23 Jan 2015Performance
The free money magic show
Saville, I. 2013. The free money magic show. The News Room, EdinburghPerformance
The development of socialist magic: reflections on the place of power and ideology in magic performance
Saville, I. 2013. The development of socialist magic: reflections on the place of power and ideology in magic performance. Journal of Performance Magic. 1 (1), pp. 2-18. https://doi.org/10.5920/jpm.2013.112Article
Just in time: ‘momentary’ events in the making of Rosemary Butcher’s signature practices
Melrose, S., Sachsenmaier, S. and Butcher, R. 2013. Just in time: ‘momentary’ events in the making of Rosemary Butcher’s signature practices. Performance Studies International Conference (PSi 19). Stanford, CA, United States 26 - 30 Jun 2013Conference paper
(Syn)aesthetics and immersive theatre: embodied beholding in Lundahl & Seitl’s Rotating in a Room of Images
Machon, J. 2013. (Syn)aesthetics and immersive theatre: embodied beholding in Lundahl & Seitl’s Rotating in a Room of Images. in: Shaughnessy, N. (ed.) Affective performance and cognitive science Bloomsbury Methuen Drama.Book chapter
On being immersed: the pleasure of being: washing, feeding, holding
Machon, J. 2017. On being immersed: the pleasure of being: washing, feeding, holding. in: Frieze, J. (ed.) Reframing Immersive Theatre: The Politics and Pragmatics of Participatory Performance Basingstoke, UK Palgrave Macmillan. pp. 29-42Book chapter
Punchdrunk
Machon, J. 2015. Punchdrunk. in: Tomlin, E. (ed.) British theatre companies: 1995-2014 Methuen Drama.Book chapter
(Syn)aesthetics: redefining visceral performance
Machon, J. 2011. (Syn)aesthetics: redefining visceral performance. Basingstoke, UK Palgrave Macmillan.Book
Spontaneous combustion
Sachsenmaier, S., Lammers, C. and Franglen, N. 2011. Spontaneous combustion. Theatre Academy Helsinki Jan 2011Performance
Lichtung
Sachsenmaier, S., Lammers, C. and Imori, M. 2011. Lichtung. UniCredit Kunstraum am Viktualienmarkt, Munich Dec 2011Performance
Lichtspur
Sachsenmaier, S. and Lammers, C. 2012. Lichtspur. St. Paulskirche Munich Apr 2012Performance
Remote Collaboration
Sachsenmaier, S., Franglen, N. and Wragg, G. 2013. Remote Collaboration. Independent Dance, Siobhan Davies Studios, London Mar 2013Performance
Punchdrunk enrichment preliminary report. November 2014.
Machon, J. and Thompson, C. 2014. Punchdrunk enrichment preliminary report. November 2014. Middlesex University.Other
Immersed in illusion, haunted by history: Marisa Carnesky’s ghost train
Machon, J. 2013. Immersed in illusion, haunted by history: Marisa Carnesky’s ghost train. in: Jenzen, O. and Munt, S. (ed.) The Ashgate research companion to paranormal cultures Ashgate. pp. 241-254Book chapter
Immersive performance, (syn)aesthetics and the phenomenology of technologies
Machon, J. 2013. Immersive performance, (syn)aesthetics and the phenomenology of technologies. in: Shaughnessy, N. (ed.) Affective performance and cognitive science: body, brain and being Bloomsbury.Book chapter
The invisible expert practitioner: theorising performer expertise in contemporary performance-making
Sachsenmaier, S. 2010. The invisible expert practitioner: theorising performer expertise in contemporary performance-making. PhD thesis Middlesex University Performing ArtsPhD thesis
Intuition
Sachsenmaier, S. Intuition.Design
Vom Archiv zur Neuerfindung. Fragen zur künstlerischen Handschrift im kreativen Schaffensprozess zeitgenössischer Performance
Sachsenmaier, S. 2012. Vom Archiv zur Neuerfindung. Fragen zur künstlerischen Handschrift im kreativen Schaffensprozess zeitgenössischer Performance. in: Behrens, C., Burkhard, H., Fleischle-Braun, C. and Obermaier, K. (ed.) Tanzerfahrung und Weltkenntnis Leipzig Henschel Verlag. pp. 95-107Book chapter
Reinventing the past: Rosemary Butcher encounters Allan Kaprow's 18 happenings in 6 parts
Sachsenmaier, S. 2013. Reinventing the past: Rosemary Butcher encounters Allan Kaprow's 18 happenings in 6 parts. Choreographic Practices. 4 (2), pp. 223-244. https://doi.org/10.1386/chor.4.2.223_1Article
Beyond Allan Kaprow: an interview with Rosemary Butcher
Sachsenmaier, S. 2012. Beyond Allan Kaprow: an interview with Rosemary Butcher. Journal of Dance and Somatic Practices. 4 (2), pp. 267-281. https://doi.org/10.1386/jdsp.4.2.267_1Article
Tanz auf dem Vulkan (Dancing on a volcano)
Sachsenmaier, S., Lammers, C. and Spengler, S. 2010. Tanz auf dem Vulkan (Dancing on a volcano). Städtische Galerie Kunstarkaden Munich 27 Apr - 28 May 2010Performance
Spontaneous combustion
Sachsenmaier, S. 2011. Spontaneous combustion. in: Arlander, A. (ed.) Artistic Research in Action: Proceedings of CARPA2, Colloquium on Artistic Research in Performing Arts Theatre Academy Helsinki. pp. 127-133Book chapter
Free money magic show
Saville, I. 2013. Free money magic show. Edinburgh, Scotland 06 - 25 Aug 2013Performance
The performance of truth and justice in Northern Ireland: the case of Bloody Sunday
Upton, C. 2009. The performance of truth and justice in Northern Ireland: the case of Bloody Sunday. in: Forsyth, A. and Megson, C. (ed.) Get real: documentary theatre past and present Basingstoke Palgrave Macmillan. pp. 179-194Book chapter
Immersive theatres: intimacy and immediacy in contemporary performance
Machon, J. 2013. Immersive theatres: intimacy and immediacy in contemporary performance. Basingstoke Palgrave Macmillan.Book
The translator as metteur en scene, with reference to Les Aveugles [The Blind] by Maurice Maeterlinck
Upton, C. 2011. The translator as metteur en scene, with reference to Les Aveugles [The Blind] by Maurice Maeterlinck. in: Baines, R., Marinetti, C. and Perteghella, M. (ed.) Staging and performing translation: text and theatre practice Basingstoke Palgrave Macmillan. pp. 31-48Book chapter
Moving target: theatre translation and cultural relocation
Upton, C. (ed.) 2000. Moving target: theatre translation and cultural relocation. St Jerome Publishing.Book
Woven bodies, woven cultures
Boddington, G. 2012. Woven bodies, woven cultures. in: Broadhurst, S. and Machon, J. (ed.) Identity, performance and technology: practices of empowerment, embodiment and technicity Pelgrave Macmillan. pp. 77-90Book chapter
Identity, performance and technology: practices of empowerment, embodiment and technicity
Broadhurst, S. and Machon, J. (ed.) 2012. Identity, performance and technology: practices of empowerment, embodiment and technicity. Basingstoke Palgrave Macmillan.Book
Still harping on (about expert practitioner-centred modes of knowledge and models of intelligibility)
Melrose, S. 2007. Still harping on (about expert practitioner-centred modes of knowledge and models of intelligibility). E-science institute workshop: digital representations in the performing arts. Edinburgh 18 Jul 2007Conference keynote
Postmodernism and performance.
Melrose, S. 2011. Postmodernism and performance. in: Sim, S. (ed.) The Routledge companion to postmodernism. London and New York Routledge. pp. 194-203Book chapter
Expert-performance-practitioner-centred modes of knowledge and models of intelligibility: disciplinary specificity and the digital submission
Melrose, S. 2012. Expert-performance-practitioner-centred modes of knowledge and models of intelligibility: disciplinary specificity and the digital submission. in: Andrews, R., Borg, E., Boyd Davis, S., Domingo, M. and England, J. (ed.) The Sage handbook of digital dissertations and theses London SAGE Publications. pp. 298-314Book chapter
Rosemary Butcher: jottings on signature in the presence of the artist.
Melrose, S. 2009. Rosemary Butcher: jottings on signature in the presence of the artist. Bodies of Thought. Siobhan Davies Studio, London 03 Apr 2009Conference keynote
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
Performance and technology: practices of virtual embodiment and interactivity
Broadhurst, S. and Machon, J. (ed.) 2011. Performance and technology: practices of virtual embodiment and interactivity. Basingstoke, UK Palgrave Macmillan.Book
Real people as actors: Actors as real people
Upton, C. 2011. Real people as actors: Actors as real people. Studies in Theatre and Performance. 31 (2), pp. 209-222. https://doi.org/10.1386/stap.31.2.209_1Article
Ananse's wealth: response and responsibility in modern African theatre
Upton, C. 1996. Ananse's wealth: response and responsibility in modern African theatre. in: Merkin, R. (ed.) Popular theatres? Papers from the Popular Theatre Conference 1994 Liverpool John Moores University. pp. 140-160Book chapter
Botho Strauss on the English stage
Upton, C. and Meech, T. 1997. Botho Strauss on the English stage. Studies in Theatre Production. 16, pp. 35-46.Article
0
total views0
total downloads0
views this month0
downloads this month