16 May, all day
Traditional Asian Theatre in/and Modernity
University of Roehampton, Jubilee Studio 5
On 16 May DTP will be hosting a symposium entitled “Traditional Asian Performance in / and Modernity.” During the first half of the day, scholars from Birmingham and London will be presenting on an array topics including Chinese Shakespeare, postmodern Japanese theatre, Japanese version of Greek tragedy, traditional and modern Indonesian performance, Japanese puppetry, and the relationship between No theatre and Jingju (Chinese Opera). In the afternoon Kathy Hall, from the London Jing Kun Opera Association will provide a training session on movement and voice in Chinese opera. Ashley Thorpe, from Royal Holloway, will provide a similar session on No theatre. Organised by Glenn Odom.
24 March, 6pm
I'm With You
Jubilee Buidling, Studio 5
University of Roehampton
The collective I'm With You is composed of Johanna Linsley (University of Roehampton) and R. Justin Hunt (University of Lincoln), and photographer Christa Holka. In their practice, flexibility, collectivity and alternative understandings of the domestic negotiate with provisional, temporary and precarious conditions. The members’ background in photography, and performance practice and theory inform a focus on the relationship between the live and the documented, and their methods of working together balance the individually authored with the collectively produced.
They will be presenting a project called Gorge, which is a performance, meal, and conversation that brings people around a dinner table for a messy, politically charged encounter. They are developing this project as associates of the Delfina Foundation in London. The work has a focus on sex and sexuality, exploring how the excess and overeating implied by ‘gorging’ might usefully open up thinking around bodies and eroticism, and more particularly, private experience and public space.
11 March, 6pm
Jubilee Buidling, Studio 5
University of Roehampton
To celebrate the publication of her Performance, Transport and Mobility (Palgrave, November 2014), we welcome Fiona Wilkie, senior lecturer in Drama, Theatre and Performance at the University of Roehampton.
Performance, Transport and Mobility is an investigation into how performance moves, how it engages with ideas about movement, and how it potentially shapes our experiences of movement. In a world of apparently global flows of people, goods and ideas, what other stories of travel are told through performance? Using a critical framework drawn from the 'mobility turn' in the social sciences, Fiona Wilkie analyses a wide range of works from scripted plays to site-specific performances, from large-scale festivals to low-key private journeys, and from walking art to Motown music. Along the way, she examines discussions and documents of travel by foot, train, car, boat and plane to create a rich sense of historical and cultural context. In arguing for the capacity of theatre and art to make passage, Wilkie charts a compelling conversation about performance on the move and illuminates a set of practices that explore and challenge what it means to be in transit.
24 February, 6pm
Karen Christopher in Conversation with Lucy Cash
Jubilee Buidling, Studio 5
University of Roehampton
The second in a two-part series of conversations arising from residencies exploring the form of the duet, this time with artist and filmmaker Lucy Cash.
Lucy's background in performance making and choreography informs her approach to the work she now makes in different media, and she continues to explore innovative forms of collaboration – working with people from a range of communities and fields of expertise. Between 2005 – 2009 she was an associate member of Goat Island performance, making four moving image works with the company as well as contributing to writing and live performance. Her moving image work has been shown on television, (Ch4, Filmfour, BBC4 and BBC2) and internationally in both galleries and at film festivals. In 2009 she was awarded a fellowship from South East Dance for her work creating choreographies for the screen. In 2010, alongside, Becky Edmunds, Chirstinn Whyte, Claudia Kappenberg and Gill Clarke she co-curated the What if… festival at Siobhan Davies Studios. In 2012 she co-curated What Matters and Small Matterswith Becky Edmunds as straybird (www.straybird.org). She has been an associate artist with Artsadmin since 2007. In 2010 – 2012 she was an associate artist with South East Dance.
6 February, 4-6pm
More than Accessible: Theatre and Performance in the Age of the Spectator
The aim of this one-day symposium is to ask interesting questions about present assumptions to do with cultivating, responding to and retaining an audience for performance work. The rush to make digital all relations between spectator and performer, venue and company, has hemmed in potentially more elastic and considered responses. By quantifying immediate feedback and shaping response into small bits tweetable or facebookable, performance makers and venues for performances risk participating in the very real damage caused by volume: too much, too fast, too immediate also means responses drown under the next request for feedback, easily deleted, easily forgotten. Organised by PA Skantze.
27 January, 6pm
Karen Christopher in Conversation with Chris Goode
Jubilee Buidling, Studio 5
University of Roehampton
Karen Christopher is a collaborative performance deviser, performer, and teacher. Her company, Haranczak/Navarre Performance Projects, is currently engaged in creating a series of duet performances. She was a member of Chicago-based Goat Island performance group for 20 years until the group disbanded in 2009. She now lives in London, working to define a practice which continues in a collaborative and plural mode. As such, she has been working on a set of duet performances, a practice she is continuing with a series of residencies at University of Roehampton. This presentation will reflect on the first residency, a collaboration with artist Chris Goode.
Chris Goode is a writer, director, performer and sound designer, who has been described as “one of the most exciting talents working in Britain today” (Guardian) and “an extremely highly regarded alternative theatre maker” (Caroline McGinn, Time Out). His work has included two Fringe First award-winning shows: Neutrino (with Unlimited Theatre: Soho Theatre, London, and international tour), and his own solo debut Kiss of Life (Pleasance, Edinburgh; Drill Hall, London), which in 2007 travelled to Sydney Opera House as part of the Sydney International Festival. In 2008 he won the inaugural Headlong / Gate New Directions Award for his production …Sisters at the Gate Theatre. More recently he was part of the international touring cast of Tim Crouch’s controversial and acclaimed play The Author, winner of the John Whiting Award and a Total Theatre Award for Innovation.
27-30 November, The Function Room (above The Cock Tavern), 23 Phoenix Road, London NW1 1HB
This Has Nothing to Do with Politics
Cordelia Cembrowicz | Chris Paul Daniels | Ana Fernández Aballí-Altamirano | Ella Finer | Rose Gibbs | Marlene Haring | Olivia Hicks | Noga Inbar | Virgile Ittah Vesta Kroese | Ratna Lachman | Ekua McMorris | Oscar Murillo | PA Skantze | Jack Tan | Nicola Thomas | Geoff Tibbs | Richard Wentworth
Exhibition dates: 27 - 30 November 2014
Open hours: 12.00 - 6.00pm, daily
Visual/Performance Debate: 6.00-8.00pm, Thursday 27 November 2014
Performance Evening: 6.00-8.30pm, Friday 28 November 2014
Roundtable (by invitation): 4-6pm, Saturday 29 November 2014
This exhibition brings together artists who are alert to or are informed by social and political interest, and yet whose works occupy a distance to politics. The show explores this gap and asks if this ambivalence is a politically productive one and whether this dissociation in itself could be a form of resistance to the limitations of how one can be politically engaged today.
25 November, 6-8pm, Jubilee Studio 5
Karen Christopher, Hester Chillingworth (GETINTHEBACKOFTHEVAN), Sarah Gorman and PA Skantze
This event stages questions about the artist residency, particularly in the context of the university. It aims to host a wide-ranging conversation from both a specific and practical perspective, and from a more speculative approach. How do artists' residencies operate in universities? How do they work within wider practice-based research programmes? What sort of work patterns and changes to working methods do residencies produce, and how might they best be supported? What might other forms of residencies in universities (e.g. an academic residency) look like? From a different angle, how can the utopian ideal of a residency (isolated, away from the stress and distraction of the 'real' world) be re-thought in terms of political potential? What sorts of communities might residencies bring into being, or challenge? Could the 'residency' be a space to imagine and act out alternative ways of working and living more broadly?
The invited speakers will offer brief provocations, both reflecting on experience and making proposals. Discussion will happen over food and refreshment. All very welcome.
11 November, 6-8pm, Jubilee Studio 5, Roehampton
Exploring the Force of Listening
Lucia Farinati & Claudia Firth
This event is framed as a study gathering responding to recent theorising around the voice and its political valences, and in particular Adriana Cavarero's For More than One Voice. Participants are invited to download three short readings which will be considered at the event: 'Action' from Hannah Arendt's The Human Condition, 'The Personal is Political' by Carol Hanisch, and 'Vocal Ontology' from Adriana Cavarero's For More than One Voice.
Lucia Farinati (Italy/UK) is an independent curator based in London and the Director of Sound Threshold, an interdisciplinary curatorial project that explores the relationships between site, sound and text. She is currently working on a choral reading of the book Autoritratto, by art historian and feminist Carla Lonzi.
Claudia Firth (UK) is currently a PhD candidate at Birkbeck College, University of London. A founding member and regular contributor of Nyx, journal for the Centre for Cultural Studies (CCS) at Goldsmiths, University of London she has also written for the journal at Birkbeck College and DIS online magazine. She has recently co-authored a forthcoming photo essay for The Embodiment of Resistance, a publication also produced by (CCS).
Together they are currently co- writing and researching The Force of Listening, a book on the role of listening in contemporary conjunctions between art and activism. This will be published by Errant Bodies Press, as part of their Doormats series in Autumn/Winter 2014. They have recently run a workshop on collective listening together at the Bergen Academy of Art and Design as part of the Nordic Sound Art Program and the Dirty Ear Forum, November 2013. They are also both members of a cultural activist collective.
'The Department of Drama, Theatre and Performance at University of Roehampton presents, in partnership with Sadler's Wells:
'Of Two Minds: an afternoon on duet collaborations'.
Thursday 30 October, 2-6:30 pm
Sadler’s Wells, Lilian Baylis Studio
Rosebery Avenue, London, EC1R
Download programme for details of speakers and presentations
Resonance, counterpoint, and confrontation, self and otherness: what does working as a duet mean? What creative methodologies, or creations does it foster across - and among - diverse fields of practice? How is the duet different from other forms of collaboration? When does this experience of alterity become an experience of duality? And what happens then? Join us for an exploration of these questions in an afternoon of talks, dialogues and presentations focusing on the practice of duets by scholars and artists from performance, theatre, dance, music, visual arts and creative writing. As befits the subject matter, participants will take the floor in pairs in a dynamic reimagining of the traditional symposium.
'Of Two Minds' will be followed by an evening performance of 'Control Signal', a duet by Haranczak/Navarre: Karen Christopher and Sophie Grodin. Christopher - formerly of the renowned American collective Goat Island - and Grodin explore invisible influences and the inexplicable connections we feel but fail to acknowledge.
Karen Christopher & Sophie Grodin, with Andrea Milde
Eirini Kartsaki & Joe Kelleher
Simon Ellis & Colin Poole
PA Skantze & Matthew Fink, with Ernst Fischer
Ewan Forster & Chris Heighes
Becka McFadden & Scheherazaad Cooper, with Mary Ann Hushlak
Efrosini Protopapa & Susanna Recchia
Amaara Raheem & Tobias Sturmer
Event curated by Laure Fernandez and Becka McFadden, in collaboration with Karen Christopher'
13 October, 6.30pm, Grove House, Terrace Room
The Haunted Plate: Bringing the Lives of Enslaved Black Cooks to Life Through Interpretation
The Centre welcomes Fulbright Scholar Paul Castagno for a guest lecture examining playwright Sir Alan Ayckbourn's somewhat tenuous and fraught relationship to academe. Professor Castagno will offer an American perspective on Ayckbourn's impact, current relevance and positioning in the field.
Dr. Paul Castagno is Professor of Theatre at University of North Carolina Wilmington and is currently serving as a Fulbright Scholar 2014 at the Borthwick Archives at the University of York, where he is researching the plays and productions of Sir Alan Ayckbourn. His research explores Ayckbourn's writing and revision process and reprsents the first major exploration of the transfer process. Ayckbourn's work is significant for the number of transfers from his native Scarborough to the National Theatre, the West End and Broadway. Dr. Castagno's current research builds on his recent book New Playwriting Strategies: Language and Media in the 21st Century, published by Routledge (2012). It represents a complete revision and updating of his canonical New Playwriting Strategies: A Language Based Approach to Playwriting (Routledge 2001), which Choice has reviewed as 'highly recommended beyond its genre' and has now been widely adopted as the 'new poetics' in playwriting.
An annual day of presentations from postgraduate research students in the department of Drama, Theatre and Performance. Featuring presentations from Andre Amalio, Renata Gaspar, Irene Liverani, AnnaMaria Pinaka, Mariel Jana Supka and Sabine Priglinger. The day will conclude with a second Research Roundtable discussing issues of impact in the current research climate.
The first in a new series of departmental roundtable discussions aimed at encouraging discussion of theoretical, logistical - and occasionally existential - dimensions of research. Research Roundtables are a fluid, collaborative space for informal discussion and knowledge exchange around key themes in research including methodologies, interactions with funding bodies and emerging issues such as impact, dissemination and IP.
Chaired by Graham White, the PaR Roundtable invites department colleagues to share their experience of bidding for funding on PaR projects and will open discussion around on-going and emerging PaR work in the department. A secondary aim of his session (and all Research Roundtables) is to act as a skills-building session for PhD students thinking about their transition into postdoctoral research contexts.
'Human rights' are difficult to picture positively; we represent their violation, and our most important conversations are aftereffects. 'Never again' is always already too late. All forms of trauma culture, then, are acts of commemoration, not only for the victims, but also of the perpetrators. In stage and media dramatisations, violence, violators and victims are made temporarily present through reenactment; at build trauma memories, acts of violence themselves are rarely represented directly and are instead indexed by remnants, traces and testimony. Material and performative memory aesthetics, we argue, can each be understood as oscillations between presence and absence, continuous flickerings of a binocular vision of the past and the lost.
Laurie Beth Clark studies trauma tourism and the politics of memory culture. Michael Peterson studies the performance relations of torture and cruelty in everyday life. This structured conversation explores the convergences and divergences of their research. Clark is a Professor in the Art Department of the University of Wisconsin. Since 2001, she has been working on Always Already Again, a global comparative study of memorial sites with case studies in more than twenty countries on five continents. Peterson is an Associate Professor in the Department of Theatre and Drama at the University of Wisconsin. His research on the performance of cruelty includes fictional and documentary plays and films, as well as historical records and media accounts. Clark and Peterson also collaborate on social performance projects under the group name Spatula&Barcode.
What is so compelling about the voice of a stranger? In lifts, trains, cafés, and on the street, I strain to catch details of other people's conversations, addicted to imagining a life on slim evidence. This workshop suggests that 'listening-in' might be a way to think about how we listen to the voices of others (and ourselves), and the narratives - historical and persona - that we create in response. We will consider how 'overhearing' both fragments and exceeds casual relationships, and we will explore how it might be used as a method for the creation of new performance work. The workshop, uppermost open to MA, MRes and PhD students, takes place over two days. Workshop participants are invited tow irk collaboratively and on their own. In addition to screening some examples of 'overhearing' used as a method for making new work, a few short text have been circulated to help ground the conversation.
Johanna Linsley is an artist, researcher and producer. Her writing has been published in Performance Research, Contemporary Theatre Review, and Dance Theatre Journal. She makes research-based, multidisciplinary work, often incorporating elements of documentary with fantastical or science-fiction concepts. She has been an Associate of the Pacitti Company's Think Tank in Ipswich, and she is part of the London-based live art producing team I'm With You. She is also a co-founder of UnionDocs, a centre for experimental documentary in Brooklyn, New York. Johanna is a visiting lecturer at the University of Bristol, where she is also a research assistant on the AHRC-funded project Performing Documents. She received her PhD from Queen Mary, University of London, and also studied at Smith College. Her current research concerns knowledge, expertise and the potentiality of performance documentation.
A day of discussions, performances, installations and works in progress by DTP postgraduate students, in collaboration with Francis Alexander and the Chelsea Theatre. With Tara Fatehi Irani, Renata Gaspar, Mariella Greil, Lisa Hinterreithner, Irene Liveriani, Niki Orfanou, Charlotte Poos, Zoya Sardashti, Jack Tan and Maria Yanez-Lopez.
A short lecture concert by Jonathan Burrows and Matteo Fargion; an argument about why they do what they do, and the usefulness - or not - of the structures and scores they use. The talk is accompanied by piano music played live by Matteo Fargion, with cartoon drawings by Peter Rapp. Rebelling Against Limit was written for the Misery of Form seminar during the German Tanzkongress in Dusseldorf earlier this year, and will be presented in public now for the first time in London. This event is a collaboration between Sadler's Wells and the Centre for Performance Research and Creative Exchange at the University of Roehampton and marks Jonathan Burrows' continuing role as Honorary Visiting Professor in Roehampton's Department of Drama, Theatre and Performance.
"Occasionally feeling gloomy during some performance or other, I've wished that a fed-up theatre goblin would whisk away the show I'm watching and deposit Burrows and Fargion in its place."
- Deborah Jowitt, artsjournal.com, New York
Jonathan Burrows and Matteo Fargion are supported by Kaaitheater Brussels, PACT Zollverein Essen, Sadler's Wells Theatre London and BIT Teatergarasjen Bergen. Burrows and Fargion are currently in-house artists at the Nightingale, Brighton.
Following the success of the inaugural Methodologies in Motion in March 2013 with Jill Casid, the Centre for Performance Research and Creative Exchange organised 'Meth in Motion 2' with the authors of The Undercommons: Fugitive Planning and Black Study, Stephano Harney and Fred Moten and Laura Beth Harris.
Harris is completing a manuscript on the Trinidadian writer C.L.R. James and the Brazilian artist Hélio Oiticica and the experiments each participated in while living in the United States; her new project is an exploration of movement and tenuous forms of habitation in performance and film in post-war New York.
The form of the event was a discussion in the manner of a methodological hanging out interspersed with seven-minute interventions and culminating in food and drink.
This research project examines the relevance of the Bataillean concepts of uselessness, excess and non-productive expenditure for a contemporary visual and performance practice. The project investigates these terms through and against Catherine Clément's concept of Syncope, her science of pauses and philosophy of rapture, a concept that is borrowed from music. The question is, where else do we experience surprises, unexpected shifts or a suspension of the relentless beat of daily doing? This seminar will attempt to practice syncope, and to reflect on this proposition.
Claudia Kappenberg is Course Leader for the Masters in Performance and Visual Practices at the University of Brighton with a specialism in movement research, performance, screen based practices, installation and critical theory. Claudia Kappenberg trained in Modern Dance, Butoh and Movement Analysis and danced professionally in Europe and New Zealand.
'Rethinking Economies' - An evening of talks and performance works (25 October, Studio 5)
An invitation to rethink economy and 'economia' (deriving from the Greek οικονομία = οίκος (house) + νόμος (law/rules): the rules by which a household is managed;) in relation to neoliberal and institutional economies and systems of interaction, organisation and exchange.
With presentations by Tim Jeeves (Lancaster University), Eve Katsouraki (University of East London), Sophie Nield (Royal Holloway, University of London), Nicholas Ridout (Queen Mary, University of London).
Organised by Gigi Argyropoulou and Katerina Paramana
'What is under construction is already a ruin' / An evening of lecture-presentations by Eleonora Fabião (Federal University Rio de Janeiro) & Augusto Corrieri (Roehampton), chaired by Adrian Heathfield, 3 June
How does performance challenge the writing of history? What historiographic concepts, methods and techniques are necessary to address the forces of performance? How might one write of the historical construction that often houses performances: the theatre? Can an abandoned theatre re-fashion the potentials of performance? This event marks the occasion of Pr Eleonora Fabião's research visit to the University of Roehampton as part of an exchange with Prof. Adrian Heathfield around contemporary performance. Fabião's lecture introduced the work of Brazilian creator Arthur Bispo do Rosario, whose stated aim, during a lifelong internment at the Juliano Moreira Asylum (Rio de Janeiro), was to construct an Archive of the Human World to be presented to God in the day of the Final Judgement. Based on a recent trip around the Amazon basin as part of the research exchange, Augusto Corrieri's travelogue-presentation focused on the history and decadent splendour of Teatro Amazonas, the 'opera house in the jungle' featured in Werner Herzog's Fitzcarraldo. This event was supported by Santander Bank.
"Heaps of Memories" – A lecture by Karmenlara Ely, Artistic Director of Acting, Østfold University College/Norwegian Theater Academy, 29 May
"I want to think about those memories which collect themselves, which "stick together" and cluster to us through the mess of human living. These are memories not deliberately managed in libraries or hard drives or books; this is an ephemeral archive of "too much" - which causes anxiety, excitement and shame. A remainder. Like our garbage, it is the very thing which describes us and yet we cast it away as refuse. The "sticky" archive is proof that something happened. It lives around us, through us, and collects in unwanted or forgotten scenes. It is the closet we cannot face to clean, a path through the woods we are haunted by but never walk again, a barren mountain side of unchanging wind. This presentation, derived from the Norwegian Theater Academy's three year, international artistic research project Infinite Record, Archive Memory and Performance, thinks through alternative notions of the archive, and the notion of archive for rather than archive of. We begin by tying together the sensations of memory located in landscape, in "heaps" and in the performances of elders. New works in progress by artists such as Wen Hui of Living Dance, Beijing and Spiderwoman Theater are considered."
"Theater, Dance, Performance, and Time", a lecture by James Hamilton, Professor of Philosophy at Kansas State University in Manhattan, Kansas, USA, 29 April
A central feature of any artistic performance – and most non-artistic performances as well – is that they have duration, they occur in time. This import of this simple fact for the study of the reception of the content of a theater or dance performance has not been well understood by philosophers or performance theorists and, in many cases, not even acknowledged. In this presentation, Hamilton suggests a way of taking the temporal dimensions of these forms into account in a plausible story about the acquisition of the contents of performances. The key thing is to see that spectators do not just experience a performance in time but also reason about it in time. To account not only for spectators' experiences but also their reasoning, Hamilton makes two suggestions. The first is simply to treat spectators to these kinds of events as "learners" who are attempting to discern the causal structure that leads them to the experiences they have. And the second is to think of the mechanism by which that discernment is exercised, in time, as adequately modeled using Bayesian learning theory. An event organized by The Centre for Dance Research and the Centre for Performance and Creative Exchange.
Methodology in Motion / Jill Casid, Professor of Visual Culture, University of Wisconsin, Madison, 22 March
'What's your methodology' can be a question offering a friendly invitation to expound but it can also be a question that carries echoes of accusation or exclusion: 'are you now or have you ever been a poststructuralist?' This symposium event explored with Professor Casid – who in her work continues to redesign the landscape of visual culture -- the invention of methods that convey and embody the motion and vibrance of performance, of the spectacular, of the aud-actular, and more. While funders and publishers espouse the idea of the interdisciplinary, often the fixed categories of methods and fields redescribe fences and no-go areas. If as so many institutions suggest, we need new methods for our new times and technologies, then how do we make and appreciate and develop them? The symposium event was about methodology by way of experimenting with methodologically moving forms; after Jill Casid sounded the keynote, there has been many seven-minute interventions by artists, writers, scholars/scholars-artist-writers.
Jill H. Casid is Professor of Visual Studies in the Department of Art History at the University of Wisconsin-Madison where she founded and directed the Center for Visual Cultures. A historian, theorist, and practicing artist in photo-based media, her research, service to the profession, teaching, and program-development efforts have been dedicated to the development of visual studies as a transdisciplinary field, connecting history, theory, and creative production. Her book projects and articles situate early modern to contemporary visual culture within a dynamic global context of transculturating contacts and flows with particular emphasis on the Atlantic and the crossings between the Caribbean, the Americas, and Europe.
Show & Tell: Jonathan Burrows and Matteo Fargionm, Lilian Baylis Studios at Sadler's Wells, 25 February
Jonathan Burrows explores the hidden influences that have led to a long series of duets with his frequent collaborator, the composer Matteo Fargion. Revealing the vital role that mimicry plays in creative process, Burrows and Fargion compose a presentation of formative images and sounds, and in so doing examine what is absorbed and transformed, buried and disclosed, engaged and appropriated in the making of performance works.
Over the past ten years Burrows and Fargion have made a series of seven duets conceived, choreographed, composed, administrated and performed together. Both Sitting Duet (2002), The Quiet Dance (2005), Speaking Dance (2006), Cheap Lecture (2009), The Cow Piece (2009), Counting To One Hundred (2001) and One Flute Note (2012) are all still touring, and the two men have now given over 250 performances across Belgium, Germany, UK, Canada, Japan, Portugal, Italy, Austria, France, Sweden, Norway, Switzerland, Spain, Croatia, Ireland, USA, Finland, Lithuania, Brazil, Latvia, Estonia, Poland, South Korea, Greece, Romania, Hungary, Turkey and Australia. Both Sitting Duet won a 2004 New York Dance and Performance 'Bessie' Award.
Show & Tell is organized in collaboration with the Centre for Performance and Creative Exchange and the Drama Department at the University of Roehampton. The event celebrates Jonathan Burrows' appointment in Drama as their Honorary Visiting Professor (2012-14).
A John Cage Valentine, 11 February
The evening included a performance of a tinnitus version of John Cage's work 4'33" and discussion on the sonic, the ear, the acoustic, and sound. Participants were encouraged to bring a valentine in whatever media for John Cage in honor of the 100th anniversary of his birth.
David McAlpine's research focuses on the way in which the auditory brain processes complex sounds, from the manner in which individual neurons in the auditory brainstem integrate information arriving from the two ears, to the relationship between cortical activity and human perception. In addressing these challenging questions, my laboratory employs a wide range of techniques, often in collaboration with colleagues around UCL, to dissect those neural circuits and mechanisms responsible. Two major topics are currently under investigation: the first topic concerns the brains representation of auditory space and the second examines the extent to which the context in which a sound is heard influences the neural representation of that sound, using a combination of single neuron recording, modelling and psychophysics.
Fabrizio Manco currently teaches as a lecturer at Portsmouth University and is a PhD candidate at Roehampton working on the Acoustic Body in Place and Performance.An artist Manco has trained in Butoh and in performance in Italy, England and Japan. He has shown and performed work, taken up residencies and research nationally and internationally. For more information see http://www.ucl.ac.uk/npp/NeurosciencePhD/supervisors/dmcalpine
The Waitress, A Performance/Salon, 29 January
In which Emma Dowling explores the embodied experiences of the waitress with the question of how to (re)present these in their affective dimensions. In service work, the body needs to be able to combine conflicting capacities; to lure, entice and satisfy on the one hand and to be resilient, fast and astute on the other. If an attention to affect allows a shift from the question of what a phenomenon means or represents, to that of what a phenomenon does, then the ways affect is analyzed and narrated are necessarily bound up with questions of method and (re)presentation. Dowling performs the waitress in an analysis of her affective and embodied labor in the process of how she experiences and makes sense of it.
Emma Dowling is lecturer in the Department of Criminology and Sociology and member of the Crime and Conflict Research Centre at Middlesex University. Previously she was a lecturer in ethics, governance, and accountability at the School of Business and Management and a member of the Centre for Ethics and Politics at Queen Mary, University of London. Her PhD at Birkbeck focused on the relationship between social movements and political conflict and global governance processes and institutions (Affecting Legitimation: The Productivity of Resistance in Global Neoliberal Governance). 'Pedagogies of Cognitive Capitalism—Challenging the Critical Subject.' In E. Bulut & M. Peters (Eds.), Education, Cognitive Capitalism and Digital Labour (pp. 195-210). New York, NY: Peter Lang (2011); Producing the Dining Experience—Measure, Subjectivity and the Affective Worker. Ephemera: Theory and Politics in Organization, 7(1), 117-132 (2007). For more information see http://www.mdx.ac.uk/aboutus/staffdirectory/emma_dowling.aspx
'You promised me ten thousand people: performance, hospitality, and the ecological thought', 11 December
Joe Kelleher is Professor of Theatre and Performance at Roehampton University in London, where he is also Head of Department for Drama. Joe's books include Theatre & Politics (2009), The Theatre of Societas Raffaello Sanzio (2007, with Claudia and Romeo Castellucci, Chiara Guidi and Nicholas Ridout) and Contemporary Theatres in Europe (also with Ridout). He has recently been making performances with Eirini Kartsaki.
'On Bursting into Song and Other Perils of the Musical' / Mary Jo Lodge, Associate Professor, Lafayette College, Pennsylvania, 13 November
Mary Jo Lodge is a musical theatre specialis and an Assistant Professor of Theatre at Lafayette College in Easton, PA. She holds a Ph.D. in Theatre, specializing in Musical Theatre, from Bowling Green State University, and ran the BFA Musical Theatre program at Central Michigan University for four years prior to joining the Lafayette faculty.
The Pause that Refreshes, an Evening with Rebecca Schneider, 30 October
A 'nourishing exchange' with Rebecca Schneider hosted by the Centre for Performance and Creative Exchange. While feasting together, we considered the interval, the pause, taking pauses and considering intervals, practice and theory.
Author of The Explicit Body in Performance and Performing Remains: Art and War in Times of Theatrical Reenactment, Professor Rebecca Schneider (Brown University) has written extensively on theatre and performance practices that stretch accepted borders around media, writing on performance art, photography, architecture, and "performative" everyday life. For more information see http://research.brown.edu/myresearch/Rebecca_Schneider
Tim Etchells: An End is Not The Start of Something (Reading & Speaking), 2 March
For 2010-12, Tim has been visiting professor at Roehampton, working with students on the MA/MRes in Performance & Creative Research. As part of his visit, Tim has been making an informal presentation for the events programme of Roehampton's Centre for Performance and Creative Exchange. For this presentation, he read from a selection of his recent performance texts, art projects, fiction and other material. Interspersed between the readings Tim responded live to an unseen series of topics or questions previously suggested by the public, related to performance, theatre or art in general and topics not obviously related to those things. Drawing alternately between each pack, Tim has been interleaving these playful or at least impromptu answers with readings from his own writing.
Tim Etchells (1962) is an artist and a writer based in the UK whose work shifts between performance, visual art and fiction. He has worked in a wide variety of contexts, notably as the leader of the world-renowned performance group Forced Entertainment. He is currently visiting professor at University of Roehampton and Professor of Performance Writing at Sheffield University. In recent years he has exhibited widely in the context of visual arts, with solo shows at Gasworks and Sketch (London), Bunkier Sztuki (Krakow) and Künstlerhaus Bremen. Etchells' first novel The Broken World was published by Heinemann in 2008 and his monograph on contemporary performance and Forced Entertainment, Certain Fragments (Routledge 1999) is widely acclaimed. For more information see www.timetchells.com , www.forcedentertainment.com , www.vacuumdays.com
Devotional Dialogues, Four Second Decay [Matthew Fink and P. A. Skantze] and Ann Pellegrini (NYU), 23 May
Performance group Four Second Decay (Matthew Fink and P.A. Skantze) performed 'The Telegraph of Santa Lucia', a work by Matthew Fink based on a conversation between two churches in Montepulciano, Italy, in which one church, San Biagio, is losing his faith. The dialogue is conveyed through dust from the road that runs between the churches. The work is staged simply with photographs, clothesline and talcum powder.
In the second part of the dialogues, Ann and P.A. created a scholarly duet on perhaps regaining one's faith or at least exposing the religious pasts of supposedly secular subjects of performance and wondering aloud about public longing and devotion as forms of affect that move, shimmering often at the edges of the unacknowledged dusty trails of performance and performance studies. For more information see http://fourseconddecay.com/
A wasted encounter / Bojana Kunst and Danae Theodoridou in conversation, 4 May
Part of the research project 'Seizing the Time in the Contemporary Performance', Les Laboratoires d'Aubervilliers, Paris)
"Dear Danae, I deeply wonder why I repeatedly write you letters in which I'm again and again continuing to tell you that I'm actually not able to tell you something right now? I'm more and more sure that these letters are caused with the (fake) believe that the time will be soon more gentle to us. There is something in our modes of working which disables us to dive into the present and at the same time we can only commit to the future, for which we are always late. It seems in this wish, this persistent desire a lot of time is wasted, however the question is: is this really such a bad waste? Dear Bojana, we seem indeed to communicate through broken promises, creating a waste of time par excellence, as you say; a time that spends its time promising what it knows it cannot keep (but at the same time cannot stop promising itself to it): the promise of a coming together, a close collaboration, a devotion, an exclusive investment. But is this indeed a bad waste? What would we see there if we attempted to look at this time as the 'waste' that it is? What do we do in a time when we don't do what we promise and wish for? I think about a Greek saying I like, which goes something like this: An hour does bring what time cannot (Osa fernei i ora, den ta fernei o chronos). And I am full of hope that if we take our hour, it will indeed bring what time cannot."
Bojana Kunst is a philosopher, dramaturg and contemporary art theorist, currently working at the University of Hamburg. Her books include The Impossible Body (1999) and Dangerous Connections: Body, Philosophy and Relationship to the Artificial (2004). She writes for a numerous international publications (including Maska, Frakcija, TanzAktuell / Ballet International, Performance Research) and participates at conferences and festivals around Europe.
Danae Theodoridou is currently a PhD candidate at Roehampton University, London. Since 2008 she has been creating and presenting solo works and writings in UK, Greece and elsewhere, as well as collaborative works with the Athens-base company Construction Works company of whom she is also a founding member. At the same time, she has been teaching in a variety of University Departments in London both at undergraduate and postgraduate level. For more information see http://www.leslaboratoires.org/en/simplenews/2011-nl16, www.kunstbody.org , http://www.danaetheodoridou.com
Research (Late) Lunch and Afternoon Roundtable / On Spectating, Spectators and Reception, 27 April
An Open Forum for anyone who wants to bring a short piece of writing or another form having to do with what PA Skantze personally likes to call the 'practice of spectating,' but also identity and spectators, historical place of spectators, theatre critics and spectators... The session followed a pattern of hearing a short piece from each participant (two paragraphs to two pages) and discussing it for all who wanted to participate.
"Liminality, Slow time, Uncertainty and Me" / Transformative potential in the complex workings of everyday life, 23 March
The recent projects of John Newling.
"Wittgenstein and Drama", 22 March
Spencer Golub, Brown University, hosted by the Royal Institute of Philosophy, and the Philosophy
Real & Imagined / Seen & Unseen, 21 March
Artist Tim Etchells (Honorary Visiting Professor) reflects on his recent work creating events both real and imagined. From his ongoing role as leader of the performance group Forced Entertainment to his solo and collaborative projects in the context of visual art, Etchells discusses the relation between object and event, the potency of the event in imagination and actuality and the layering of real spaces with imagined actions.
Study Day on Curation and Performance, 19 March
Jose Sanchez, Visiting Professor
Postgraduate Lab Night, 23 February
Performing The Investigation: Notes From The First Two Years Of Every House Has A Door, 11 January
A lecture by Lin Hixson, The School of the Art Institute of Chicago, Honorary Visiting Professor
Open Recording Session / Hearing Things Radio Series, 14 December
BS Johnson's The Unfortunates adapted for BBC3 by Graham White, Shuffle Night, Critical Radio
Ella Finer: Material Voice in Pitch Black, 21 November
A live recording of a scholarly paper, Material Voice in Pitch Black is a staged reading with cited voices animated by a cast of many speakers. Choreographed in near darkness, bodies will come to light to read from scripts on stage, while the audience are invited to become auditors, whose acoustic presences will form an integral part of the recorded event. This practical experiment formed part of Ella Finer's doctoral research, which approaches the voice as a theatre material in the live and on the record. Her research questions how the female body might 'handle' the voice as matter while being both performer and director/designer of the speech with particular attention to the sound of the female voice.