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Dr Sarah Gorman

Principal Lecturer

Telephone : +44 (0)20 8392 3776
Email : S.Gorman@roehampton.ac.uk
Department : Drama, Theatre and Performance
Office location : Jubilee 220

Send a message to Dr Sarah Gorman

Qualifications

1988-1991 - University of Kent at Canterbury -
Degree BA (Hons) English and Drama Combined

1992-1993 - Lancaster University - M.A .in Contemporary Theatre Practice

September 2002 - Lancaster University - PhD
"Millennial Anxiety and the Drive to Narrative Closure in Experimental British Theatre"

About

BA, University of Kent at Canterbury; MA, Lancaster University, PhD, Lancaster University.

Current position: Principal Lecturer; Research Student Co-ordinator.

Office drop-in hours for Autumn 2011-12: Mondays 12.30-1.30pm and Wednesdays 1.15-2.15pm.

Sarah's teaching and research explore Feminist theatre & performance, contemporary European and North American experimental theatre, performance, live art, cultural politics, new media in performance.

In addition to PhD supervision, Sarah teaches both workshop and seminar based modules at Roehampton, developing modules such as Performing Failure, Gender, Sexuality and Performance, Postmodern Performance and New Media in Performance.

Research Interests

Feminist theory & performance; Contemporary British and North American Experimental Theatres; Performance Art, Live Art, Cultural theory & Identity politics, New Media in Performance; Performative Writing.

Research Projects Undertaken

Video and time-based media as painterly art; Feminist Historiography and Greenham Common; Queer & Feminist Archives; Post- textual and Performative Writing; New Media in Performance; Gender Performativity.

Membership of Professional Bodies

PSi
ASTR
TAPRA

Consultancy Experience

Practice as Research PhDs;

Examining Experience
Sarah has examined the following PhD submissions: External Examiner for Lisa Watts, practice as research PhD, Edinburgh College of Art, July 2010, (‘Art that Presents the Living Body’); Internal Examiner for: Charlie Fox ('In the Event of Laughter'), June 2010; Rachel Lehrman ('Communicative Dynamics of Artistic Collaboration')Autumn 2008, and Rachel Zerihan ('Catharsis in Works of Contemporary Female Performance'), Autumn 2008.

She is currently external examiner for Kingston University & Queen Mary University of London

Consultancies Undertaken

  • Peer Reviewer for Contemporary Theatre Research and Palgrave Macmillan.
  • Assessor for AHRC
  • Advisor for Arts Council of England, reviewing pieces for Combined Arts & Live Arts Departments (2001 - 2009)
  • External Examiner to University of Glamorgan’s Drama Theatre & Media BA Programme, September 2004 - 2008
  • External Examiner for MA in Contemporary Performance Making at Brunel University, London, 2004 - 2008.
  • Board Member for Lightwork Theatre Company
  • Member of validation panel for Anglia Ruskin University, BA Performing Arts & Drama pathways 2005-6.

Teaching Interests

In addition to PhD supervision, Sarah contributes to a range of modules on the BA programme in the Drama Theatre & Performance including: Performing Failure; Gender, Sexuality and Performance; Postmodernism and Performance; New Media in Performance; Studio Theatre Production; Advanced Theatre Practice.

She has recently been working with Wandsworth Arts Unit and the People Show to fundraise and oversee student involvement with People Show 122: The Pumphouse Project, a £40,000 site specific arts event to be staged in The Pumphouse Gallery, Battersea Park as part of Wandsworth Arts Festival, May 2011.

In May 2010 Sarah co-ordinated Roehampton@Tara, a short festival of student work at the Tara Studios, Earlsfield.

Publications

"Wandering and Wondering" her essay on Janet Cardiff's audio walk Missing Voice (Case Study B) was re-published in Nicolas Whybrow's reader, Performance and the Contemporary City by Palgrave Macmillan (2010).
(2007) Refusing Shorthand: Richard Maxwell, Contemporary Theatre Review, 17 (2), 235-241.
(2005) "Chronicles of the Indeterminate: Ordering Chaos in the Retrospectives of Forced Entertainment", Performance Research, 10:1, 82-94.
(2005) "New Theatre Making: Richard Maxwell", Contemporary Theatre Review, 15:2, 284-288.
(2003) "Wandering and Wondering: Following Janet Cardiff’s Missing Voice", Performance Research, 8:1, 83-93.
(2002) "The Mythology of Sarah Kane: How to avoid reading 4.48 Psychosis as a Suicide Note", Anglo Files: Journal of English Teaching (The Danish Association of Teachers of English), December, 35-42.
(2000) "Archive Fever and the challenge to Finitude in Rose English's Tantamount Esperance and Insomniac Productions' Clair de Luz", Performance Research, 5:2.
Sarah's monograph, The Theatre of Richard Maxwell and the New York City Players has recently been published by Routledge (2011).
2010 saw the publication of "The End of Reality: Exploring Acting with New York City Players" in Making Contemporary Theatre: International Rehearsal Processes (published by Manchester University Press and edited by Jen Harvie and Andy Lavender)
(2007) "Theatre for a Media-Saturated Age", A Concise Companion to Contemporary British and Irish Drama, 263-282.
(2006) "Foreign Bodies: Performing Physical and Psychological Harm at the Mladi Levi Festival August 2003", Contemporary Theatres in Europe: A Critical Companion, 117-140.
Sarah presented "Concert Hall/Sports Facility: The Anthropological Space of Richard Maxwell's Theatre" as part of Chelsea Theatre's Sacred Symposium in November 2010
She also presented "Performing Failure - Ontological Asymmetry or Radical Negativity? The problematic of failure for the subaltern subject" at the TAPRA Conference, Kingston, September 2011.
(2010) "Richard Maxwell and the New York City Players -The End of Reality - Exploring Acting", Making Contemporary Theatre: International Rehearsal Processes.
Michele Barrett (2007) Dear Bobby (on Spitting Mad), Bobby Baker: Redeeming Features of Daily Life.
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