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 Johannes Birringer Johannes Birringer
Professor - Drama & Performance
Johannes Birringer joined Brunel University London's School of Arts (now College of Business, Arts and Social Sciences) in early 2006. He is director of the DAP-Lab and headed the Centre for Contemporary and Digital Performance from 2008 to 2015, curating the annual Research Seminar Series and the Artaud Forum. He is a choreographer and media artist, and artistic director of AlienNation Co., a Houston-based multimedia ensemble that has collaborated on numerous site-specific and cross-cultural performance and installation projects since 1993. After directing international workshops on dance and technology in England, Germany, and the U.S., he was appointed head of the new dance and technology program at The Ohio State University (1999-2003) where he developed the new MFA curriculum in dance technologies and conducted research programs in his "Environments Lab." In 2003 he was appointed Principal Research Fellow in Live Art and Performance at Nottingham Trent University. In late 2005 he convened the Digital Cultures Lab, a cross-cultural dance and technology workshop-festival, and in 2003 he founded the Interaktionslabor Goettelborn in a former Coal Mine in the Saarland, Germany. The Interaktionslabor is an annual international workshop dedicated to research, performance and software application development in interactive and networked media technologies. A "Manifesto of Interactional Art" was published by Birringer in 2014 to reflect on ten years of laboratory experiments. His exhibition-performances and digital films have been staged in Europe, the U.S., Latin America, China and Japan. He has received numerous arts grants, awards, and fellowships for his work including a NEA/Rockefeller artists project grant in 1993; in 2013-17 he participates in the European Metabody research project funded by a grant from the EU. More recently, his directing projects included the multi-media play Sueno, the interactive dance work Suna no Onna (London 2007-08), the digital oratorio Corpo, Carne e Espirito (Brasil 2008), and UKIYO [Moveable Worlds] (2009-2010), a choreographic installation created with artists from DAP-Lab and Tokyo/Japan. His most recent production, the dance opera for the time being (Victory over the Sun) premiered at Sadlers Wells in 2014. Designs from the opera were featured in BBC World Service's edition of the program. Metakimosphere no. 2 </a>, an immersive installation, premiered at METATOPE, MediaLab Prado, Madrid, Spain in 2015. Birringer received his M.A. and Ph.D. from Trier University (Germany) after graduate research fellowships at Cambridge and Yale Universities. He has taught performance studies at Yale University, UT-Dallas, Rice University, Northwestern University, and at the Giessen Institute of Applied Theatre Science. Johannes’s research activities include choreography and digital media, design and interactive technologies, theatre scenography, video, music and installation art, performance theory and its relations to current research in life sciences and cognitive sciences, cross-cultural collaboration. The DAP-Lab, which he has directed since 2005, explores convergences between physical movement choreography, visual expression in dance/film/fashion, wearable design, and real-time interactive data flow environments. Participants explore the relations between design in motion, and design fabrics and performance wearables within a performance context with digital projections allowing the clothes with built-in sensors to be used for performance interaction with camera tracking and real-time data transformation (video, sound, motion graphics,). DAP-Lab involves researchers at Brunel University London conjoined with telematic partner sites in the USA, Japan, Brazil and Italy, and develops prototypes of wearable garments which respond in distinct ways to body movement, camera capture, and sensory processing. Most recently, research has focused on audiophonic wearables and sonic visualization in performance. Birringer is a co-founder of ADAPT and has been working in online collaboration with live performer from multiple sites since 2001. The performance ensemble of the Lab has created online performances and large-scale dance installations. He has published widely on the visual and performing arts and is a contributing editor with Performing Arts Journal (USA), Performance Research (UK), South African Theatre Journal (SA), PADM (UK) and BST (UK). His books include Theatre, Theory, Postmodernism (1989), Media and Performance: along the border (1998); Performance on the Edge: Transformations of Culture (2000 and 2005), and " Performance, Technology, and Science (2008). In 2005 he co-edited Tanz im Kopf/Dance and Cognition, an anthology of new research in dance and neuroscience; and in 2011 he also co-edited Tanz und WahnSinn/Dance and ChoreoMania, an anthology on dance and madness. Birringer’s teaching interests include performance and media arts practices, theatre and dance, scenography and digital design, and a range of theoretical and historical studies in the humanities and the performance arts. He currently directs the digital performance stream in the Theatre BA, and teaches an annual laboratory in digital technologies in the MA Performance Making along with a seminar on the history and theory of mise en scène. Activities: In August 2010, Birringer directed the Live.Media + Performance-Lab at EMPAC Center (Rensselaer Institute) in New York, one of the many international workshops he has offered over the past years which were dedicated to research and community development for artistic applications of new performance technologies. He is a co-producer for streaming media and DanceTV on www.dance-tech.net, and coordinates the Brunel University London Performance Reseach Seminar. In 2011 he coordinated the first ARTAUD Forum: The World from Within and Without, an annual workshop-conference held at Brunel’s Artaud Performance Centre; he was recently invited to give keynote presentations at MIT Media Lab (Boston) during the conference Dance Technology and Circulations of the Social 2.0 (April 2011) and the Baltic Movement Festival at Gdansk Poland (June 2011). His U.S.-based ensemble website is: his German laboratory site is: and his DAP label is at: Research Projects Design and Performance Lab (DAP-Lab) Telematic Performance (ADaPT) Interaktionslabor Goettelborn Digital Cultures Lab & Symposium 2005 Beijing/ Sydney/Istanbul/Oslo: emergent dance technologies International Partnership Projects TRANSNET: SCIENCE i-Map European Multisite Project Research and Performance Websites Links to Dance and Technology Research Archive 1999-2003 (The Ohio State University) Recent and new Productions: 2010 UKIYO II, KIBLA Media Arts Centre, Maribor (Slovenia) & London 2009 Ming Yi, Subtle Technologies Toronto 2009 Auf der anderen Seite des Spiegels, Interaktionslabor Goettelborn 2009 UKIYO I, Artaud Performance Center, Brunel University London 2008 Corpo, Carne e Espirito, FIT_BH Theatre Festival, Belo Horizonte, Brazil 2007-08 Suna no Onna, Laban Centre, London, Watermans Art Center, Brentford 2006-07 See you in Walhalla, IME Industrial Performign Arts Center, AthensTheatre Festival Exhibitions and Performances (selected) Director,tedr2005 Wearable Futures, Newport, Wales (September 05) and Digital Cultures Lab, Nottingham (December 05) The emergent dress project, developed at the DAP Lab, involves transdisciplinary intersections between fashion and live performance, interactive system architecture, electronic textiles, wearable technologies, and composition. Centered around a series of live telematic performances created with remote partners, the research project explores new ideas for sensory movement technologies and garment design in an arts and digital research context. The concept on an evolving garment design that is materialized (moved) in live performance originates from DAP Lab\'s experimentation with telematics and distributed media addressing connective tissues through a study of perception/proprioception in the wearer (tactile sensory processing) and the dancer/designer/viewer relationship. Since 2005 this exploration is conducted as cross-cultural communication with online performance partners in Europe, the US, Brazil and Japan. . Collaborating artist and lab co-facilitator: Michèle Danjoux, Fashion (NTU / de Montfort) Director,Sueño2003 Mount Hall, Columbus, Ohio, USA Sueño is an interactive multimedia play that focuses on the life of 17th Century Mexican nun, Sor Juana Ines de la Cruz, widely known in Latin America and in Spain. Her fame stems from her voracious drive for knowledge and her exceptional genius as a writer. From her silent solitary cell, this free-thinking nun conducted scientific experiments, wrote hundreds of poems, plays, as well as theological essays. She was frequently attacked and chose to defend not only her own interest in wordly learning, but also the broad rights of women to education and a life of the mind. Written and performed by Angeles Romero and directed by Johannes Birringer, this play with interactive video and sound sculptures evokes realities in the intellectual mindspace of Sor Juana, a world that borders on a continuous sliding between concrete experiences, intellectual exercises and psychological hallucinations. Sueño mediates the actress\'s ability to exceed physical, spatial and temporal limitations. The crossing of filmic, theatrical and sonic spaces in the mixed reality of the performance reflects on the integration of virtual techniques. Co-Designer,East by West2003 Telepresent interactive installation,DEAF Rotterdam East by West consists of two interactive, distributed environments constructed at opposite ends of a building and connected via live video-audio streaming. Both explore the emergence and temporal synthesis of musical, visual and kinaesthetic perceptions in two similar yet different geographic architectures. The synthesis underscores the experience of the visitors and their strategic play or intuitive interaction with potential games or performance environments. Both landscapes invite the visitor to explore and play with the objects in the environments. The installation was collaboratively created and designed by Johannes Birringer, Sher Doruff, and Orm Finnendahl. It was first exhibited at the Festspielhaus Hellerau, Dresden, in July 2002; a new version was featured at the 2003 Dutch Electronic Arts Festival in Rotterdam. The work explores the transformation of spatial imagination (real space as virtual space) and the experience of time and synchronicity. East by West addresses the visitors\' playful fantasy and tactile exploration of the environment; the interface becomes useful if such play recognizes how parallel reality-systems can converge or affect each other, how we integrate other realities into our social experience. Director,,Flying Birdman2002 Telematic multisite performance, World Wide Web See Telepresence integrates video, communication and network technologies into performance environments and the international co-production and project management of remote and multiple site events with streaming media, web technologies, video production and editing, transdisciplinary research, and collaborative compositional practice. Interaction between remote performance partners, as well as between programmers, engineers, and designers, has become the standard model of co-production in telepresence performance. Flying Birdman was created collaboratively online over a period of months and performed as a multisite webcast in November 2002, produced by seven teams that are part of the research group ADaPT (studios in Phoenix, Los Angeles, Detroit, Columbus, Salt Lake City, Madison, Brasilia and São Paulo). It is based on short narratives and structured spirally as a Renga composed of live dance, real-time audio and sound processing, precorded filmic images, still images, spoken voice, and graphic textcommunication exchanged by participants and audience during the live performance. Books and other Publications (selected) (see separate list) Current Performance projects (2005-2007) (see separate list)
Ms Meretta Elliott Ms Meretta Elliott
Head of Department / Reader - Arts & Humanities
Meretta trained as an actress at the School of Theatre in Manchester and went on to complete an MA in Drama Studies at the University of North London. She specialises in applied drama practice including Forum Theatre and role play techniques. Meretta has collaborated on a range of training and research projects including: Custody training for Kent Constabulary, key workers from Hillingdon Borough Council, uses of drama in the design process (especially for people with dementia) and advanced communication training for medical practitioners. Meretta has also undertaken training with Geese Theatre Company on Applied Drama Practice with offenders (Behind the Wall programme) and is a trained Mediator and Conflict Coach. Applied drama practice Acting theory and practice Directing theory and practice
Dr Royona Mitra Dr Royona Mitra
Associate Dean / Professor - Dance and Performance Cultures
Royona is the author of Akram Khan: Dancing New Interculturalism (Palgrave, May 2015). Her book is the winner of 2017 de la Torre Bueno First Book Award awarded by the prestigious Dance Studies Association (DSA) and the runner-up for the 2016 Theatre & Performance Research Association (TaPRA) New Career Research in Theatre/Performance. She has a PhD from Royal Holloway, University of London (2011) on the British-Bangladeshi dance artist Akram Khan, an MA in Physical Theatre from Royal Holloway, University of London (2001) and a BA (Hons) in Theatre & Performance from the University of Plymouth (2000). She trained in classical and contemporary South Asian dance in India and specialised in physical theatre in the UK. Prior to joining the Theatre Department at Brunel, Royona was a Senior Lecturer in the Drama Department at University of Wolverhampton where she was also the MA Drama Course Leader. She has also taught in the Theatre and Performance Department at the University of Plymouth. Royona was elected as Secretary to join the Executive Committee for SCUDD (Standing Conference for University Drama Department) from 2013-2016. She is an elected member of DSA’s (Dance Studies Association) Board of Directors, and a member of TaPRA (Theatre and Performance Research Association) (2018-). She has served on the editorial board for DSA's Studies in Dance History series (2015-2018) and was a co-editor for the Training Grounds section of Theatre, Dance and Performance Training Journal (2015-2018). Royona's research addresses intersectionalities between bodies, new interculturalisms, race, gender, postcolonialities and decolonialities, and she contributes to the fields of intercultural performance, diaspora and dance, contemporary South Asian dance and physical theatre/dance theatre. Her first monograph Akram Khan: Dancing New Interculturalism analyses the relationship between this British-Asian dance artist's complex identity-positions and his art through the lens of ‘new interculturalism’. Through seven key case studies from Khan’s oeuvre, this book demonstrates how Khan’s philosophy and aesthetic of ‘new interculturalism’ is a challenge to the 1980s predominantly western ‘intercultural theatre’ project, as a more nuanced and embodied approach to representing Othernesses, from his own position of the Other. Additionally, the book challenges popular perception of Khan’s art as contemporary South Asian dance by suggesting that, instead, Khan uses South Asian dramaturgical principles to transform the western contemporary dance landscape in intercultural ways. Offering the first full-length investigation of Akram Khan’s work, this book is essential reading for students, researchers, practitioners and fans of Khan’s work. Her current book project titled Unmaking Contact: Towards a New Intercultural Politics of Choreographic Touch interrogates the politics of choreographing touch at the intersections of race, gender, nation, sexuality, new interculturalisms and decoloniaity, in order to reframe choreographic touch, ubiquitous feature of contemporary choreographies. She has just completed a British Academy Small Grant funded project titled ‘Contemporary Dance and Whiteness' alongside Drs Simon Ellis (Coventry) and Arabella Stanger (Sussex). The project’s aim is to examine race and racism in British contemporary dance and to critique whiteness as part of a commitment to the field’s anti-racist futures. The project examines whiteness as a structure of racism that exists in the relationships between personal prejudice, cultural norms, and the lived conditions of inequality and racial violence. Working in coalition with UK and US colleagues from across theatre and dance studies, Royona has been leading conversations on anti-racism for these disciplines as a scholar and an educator, with a strong commiment to dismantling their whiteness. Royona’s teaching specialisms are in the fields of physical theatre/dance–theatre, live art practices, dance and embodiment, intercultural performance and critical theory. She would be keen to supervise PhD projects in the above areas and also projects that interrogate the relationships between body, culture, sexuality and identity in performance.
Mr Gavin Thatcher Mr Gavin Thatcher
Lecturer in Theatre
Gavin is a Birmingham-based theatre maker, workshop leader, lecturer and researcher in the area of the body, movement and dramaturgy. In 2015, he was part of the Birmingham Repertory Theatre’s Foundry Programme for emerging artists, where he was mentored by Alexander Zeldin and Caroline Horton. Gavin is interested in making work with untrained bodies, and recently assisted acclaimed French theatre director, Mohamed El Khatib, working with over 50 football supporters on stage. Prior to joining the Theatre Department at Brunel, Gavin was a Visiting Lecturer at Royal Birmingham Conservatoire, De Montfort University Leicester, and University of Wolverhampton. He has also worked extensively as a theatre-maker, and is currently developing a collection of three works exploring neurological trauma. The first two pieces: Grey Matter and The Prisoner's Cinema have been supported by Birmingham Repertory Theatre and MAC Birmingham. Gavin's teaching specialisms are in the fields of physical theatre/dance-theatre, directing, and performer training.
Dr Katerina Paramana Dr Katerina Paramana
Senior Lecturer in Theatre
Dr. Katerina Paramana is an artist and scholar, and Senior Lecturer (Associate Professor) in Theatre and Performance at Brunel University London. Her performance work draws on theatre, the visuals arts, and dance and takes the form of performance, installation-, and lecture-performance. Through its consideration of the relationship between image, body, time, context, and the encounter with the spectator, her work explores the political, philosophical, social, and ethical dimensions and potentials of performance. It has been presented in theatres, studios, and galleries in the UK, US, and Europe, in venues such as Gasworks Gallery, The White Building, ]performance s p a c e [, Laban Theatre, The Place, and Toynbee Studios in London; the Institute of Design at Stanford University; the Kultuhuset in Stockholm; Galeria Boavista in Lisbon; and the Michael Cacoyannis Theatre in Athens. Katerina has also collaborated as a performer with various companies and artists in the UK and the US (e.g. Tino Sehgal, Ivana Müller, The Famous Lauren Barri Holstein, Bojana Cvejic and Christine De Smedt, Janez Janša, Liz Lerman Dance Exchange, Nejla Yatkin, Deviated Theatre, Lea Anderson, Simon Vincenzi, and Risa Jaroslow). She has performed at venues including the Barbican Theatre, National Theatre Studio, Tate Modern, Southbank Centre, Laban Theatre, and Siobhan Davies Studios in London; the Michael Cacoyannis Theatre and Duncan Dance Research Centre in Athens; the Kennedy Centre, Kogod Theatre, Greenberg Theatre, Kay Theatre, GALA Theatre at Tivoli Square, Dance Place, and the 9:30 Club in Washington, D.C.; the Chicago Cultural Centre and the Chicago Symphony Orchestra Centre in Chicago; and the Lincoln Centre in NYC. Katerina's interdisciplinary research is concerned with the socio-political and ethical dimensions of contemporary performance. It brings into conversation performance, critical theory, political economy, continental philosophy, and cultural and social theory. Katerina was on Research Leave during the 2019-20 academic year, having been awarded the research ‘BRIEF Award’ (‘BRUNEL RESEARCH INITIATIVE AND ENTERPRISE FUND’). Her book Performance, Dance and Political Economy: Bodies at the End of the World (2021, Paramana and Gonzalez eds.) was published with Bloomsbury Academic, while the volume Art and Dance in Dialogue: Body, Space, Object(2020, Whatley, Sarah, Racz, Imogen, Paramana, Katerina, and Crawley, Marie-Louise eds.) was published with Palgrave Macmillan. Her research has also been published with refereed academic journals including Performance Research, Contemporary Theatre Review, GPS: Global Performance Studies, and Dance Research. She was an Associate Researcher with Performance Matters, an AHRC-funded creative research project and collaboration between University of Roehampton, London, Goldsmiths, University of London, and the Live Art Development Agency, investigating the cultural value of performance (directed by Adrian Heathfield, Gavin Butt, and Lois Keidan). Katerina also worked as a postdoctoral researcher at the Centre for Dance Research (C-DaRE) at Coventry University and from 2015-2018, she was a Participating Artist of Sadler’s Wells Summer University, which was led by Jonathan Burrows and Eva Martinez. Katerina has supervised and examined BA, MA, and PhD dissertations (practice-based, practice-as-research, and fully-written) and has taught theory and practice across live art, theatre, performance, and dance at undergraduate and postgraduate levels. She is Fellow of the Higher Education Adacemy (FHEA). Katerina is also co-founder and Series co-Editor of the new Interdisciplinary Book Series Dance in Dialogue, published with Bloomsbury Academic. She is on the techne Peer Review College (AHRC Doctoral Training Partnership) and on the Editorial Board of Body, Space, & Technology journal, and has served on the Board of Directors of Performance Studies International (PSi) and on the Executive Committee of the Society for Dance Research. She holds a PhD in Theatre and Performance from University of Roehampton, London, an MA in Choreography from Trinity Laban Conservatoire of Music and Dance, a BA in Theatre, and a BA in Dance from University of Maryland, College Park (US). Her PhD studies, supervised by Professor Joe Kelleher and Dr Anna Pakes and examined by Professor Nicholas Ridout and Dr Stacey Prickett, were funded by the Alexander S. Onassis Public Benefit Foundation. Katerina's interdisciplinary research is concerned with the socio-political and ethical dimensions of contemporary performance. It brings into conversation performance, critical theory, political economy, continental philosophy, and cultural and social theory. Katerina was on Research Leave during the 2019-20 academic year, having been awarded the research ‘BRIEF Award’ (‘BRUNEL RESEARCH INITIATIVE AND ENTERPRISE FUND’). Her book Performance, Dance and Political Economy: Bodies at the End of the World (2021, Paramana and Gonzalez eds.) was published with Bloomsbury Academic, while the volume Art and Dance in Dialogue: Body, Space, Object (2020, Whatley, Sarah, Racz, Imogen, Paramana, Katerina, and Crawley, Marie-Louise eds.) was published with Palgrave Macmillan. Her research has also been published with refereed academic journals including Performance Research, Contemporary Theatre Review, GPS: Global Performance Studies, and Dance Research. PUBLICATIONS (for full texts visit my Academia.edu page) Book Series (2018- present) Interdisciplinary Book Series Dance in Dialogue. Co-founder and Series co-Editor. Co-edited with Anita Gonzalez and Victoria Thoms. Bloomsbury Academic. Books 2021. Paramana, Katerina and Gonzalez, Anita (eds.). Performance, Dance and Political Economy: Bodies at the End of the World. Bloomsbury Academic. 2020. Whatley, Sarah, Racz, Imogen, Paramana, Katerina, and Crawley, Marie-Louise (Eds.). Art and Dance in Dialogue: Body, Space, Object. Palgrave Macmillan. Refereed Journal Publications 2019. ‘The Animation of Contemporary Subjectivity in Tino Sehgal’s Ann Lee’, Performance Research 24(6), 114-121. 2017. ‘The Contemporary Dance Economy: Problems and Potentials in the Contemporary Neoliberal Moment’, Special issue ‘Dancing Economies: Currency, Value and Labour’, Dance Research, 35(1), 75–95. (Full text available at my Academia.edu) 2017. ‘The PSi Manifesto Lexicon – An Online Discursive Platform’, GPS: Global Performance Studies, 1(1). Konstantina, Georgelou, Hildebrandt, Antje and Paramana, Katerina. (Full text available at my Academia.edu) 2015. ‘Re-turning to The Show’, Performance Research: A Journal of the Performing Arts, 20(5), 116-124. (Full text available at my Academia.edu) 2015. Text contribution to the ‘Acts of Voting: a Lexicon’, curated by Philip Hager & Marilena Zaroulia, Contemporary Theatre Review Interventions (Online), 25(2) (May 2015). 2014. ‘On Resistance through Ruptures and the Rupture of Resistances in Tino Sehgal’s These Associations’, Performance Research: A Journal of the Performing Arts, 19(6), 81-89. (Full text available at my Academia.edu) 2014. (Editorial) ‘Solidarity and/in Performance: Rethinking Definitions & Exploring Potentialities’ activate e-journal, 3(1). (Full text available at my Academia.edu) 2011. ‘Muddle, muddle toil and trouble: Disorder and potentiality’, activate e-journal, 1(1). Book Chapters 2021. Paramana, Katerina. ‘Performance, Dance and Political Economy: A Provocation'. In Performance, Dance and Political Economy: Bodies at the End of the World. Paramana, K. and Gonzalez, A. (Eds.) Bloomsbury Academic. 2021. Paramana, Katerina and Gonzalez, Anita. ‘Opening Thoughts and Introductions’. In Performance, Dance and Political Economy: Bodies at the End of the World. Paramana, K. and Gonzalez, A. (Eds.) Bloomsbury Academic. 2021. Paramana, Katerina, Gonzalez, Anita, Power, Nina, Blanco-Borelli, Melissa, Loizidou, Elena, Johnson-Small, Jamila, Seregina, Usva, Hemsley, Alexandrina, and Arthur, Marc. ‘In Conversation: Performance, Dance and Political Economy’. In Performance, Dance and Political Economy: Bodies at the End of the World. Paramana, K. and Gonzalez, A. (Eds.) Bloomsbury Academic. 2020. Crawley, Marie-Louise, Paramana, Katerina, Racz, Imogen and Whatley, Sarah . ‘Introduction’, in Whatley, S., Racz, I., Paramana, K., and Crawley, M. (Eds.) Art and Dance in Dialogue: Body, Space, Object. Palgrave Macmillan. Published Practice-Based Outputs (DVDs available at the British Library and the Live Art Development Agency’s Study Room): Talking with Strangers: What is Violence?, Performance Matters – Potentials of Performance, (2012) The White Building, London ( Martyro, Performance Matters – Trashing Performance –Trash Salon: How to do things with waste?, (2011) Toynbee Studios, London ( Creative Text Online Publications 2013. (Re)definition of the term ‘solidarity’. PSi Manifesto Lexicon. Gigi Argyropoulou, Konstantina Georgelou, Efrosini Protopapa, Danae Theodoridou and Steriani Tsintziloni (eds.). 2012. (Re)definitions of the terms ‘reading’, ‘co-authoring’ and ‘witness’. PSi Manifesto Lexicon. Gigi Argyropoulou, Konstantina Georgelou, Efrosini Protopapa, Danae Theodoridou and Steriani Tsintziloni (eds.). Reviews 2011.‘Review – Thinking Through Dance: The Philosophy of Dance Performance and Practices Conference’, Society for Dance Research Newsletter, 50. Co-authored with Antje Hildebrandt. AWARDS & FUNDING (2019-20) Research ‘BRIEF Award’ (‘BRUNEL RESEARCH INITIATIVE AND ENTERPRISE FUND’) 2019-20, Brunel University London (Research Leave 2019-20). (2017) British Society of Aesthetics– Grant for the organisation of the conference ‘Dialogues on Dance, Philosophy, and Performance in the Contemporary Neoliberal Moment’ at Coventry University. Research Projects & Related Activities (2019-20) Principal Investigator, ‘BRIEF Award' Project (‘BRUNEL RESEARCH INITIATIVE AND ENTERPRISE FUND’) 2019-20, Brunel University London. (2015-18) Participating Artist, Sadler’s Wells Summer University. Directed by Jonathan Burrows in collaboration with Eva Martinez, Sadler’s Wells, London. (2015) Participating Artist, Performing Arts Forum (PAF) with Jonathan Burrows, Jan Ritsema, Mårten Spångberg, and Bojana Cvejic. Siobhan Davies Studios, London. (2010-13) Associate Researcher with Performance Matters, an AHRC-funded Programme. A three-year creative research project and collaboration between University of Roehampton, London, Goldsmiths, University of London and the Live Arts Development Agency investigating the cultural value of performance. Directed by Professor Adrian Heathfield, Dr Gavin Butt and Lois Keidan. Board Memberships & Assessment Panels (2019-present) techne AHRC Doctoral Training Partnership Peer Review College – Assessment Panel Member, Performing Arts Subject Group. (2018-present) Editorial Board, Body, Space & Technology (BST) Journal (2016-2019) Board of Directors, Performance Studies International (PSi) (2016-2018) Executive Committee, Society for Dance Research (SDR) Peer-Reviewer Bloomsbury Academic Routledge GPS: Global Performance Studies journal Dance Research Journal Performing Ethos: An International Journal of Ethics in Theatre and Performance journal Editorial Roles (2018- present) Book Series Editor, Interdisciplinary Book Series Dance in Dialogue, Bloomsbury Academic. (2018- present) Editorial Board, Body, Space & Technology (BST) journal. (2016- 2019) General Editor, Performance Studies International, PSi Manifesto Lexicon. (2015-16) Review Editor, Journal of Dance and Somatic Practices (2013-14) Guest Editor, ‘Solidarity and/in Performance: Rethinking Definitions & Exploring Potentialities’ activate e-journal, 3(1). (2010-13) Editorial Committee Member, activate e-journal. Event Organisation (2017) Co-organiser of the Conference ‘Dialogues on Dance, Philosophy, and Performance in the Contemporary Neoliberal Moment’, Coventry University. (2016) Co-organizer of the Body, Space, Object Symposium, Coventry University. (2016) Working Group Convenor and Panel Chair, ‘The production of the Social in Contemporary Performance’, Body, Space, Object Symposium, Coventry University. (2013) Curation & organisation of the symposium ‘Rethinking Economies’, University of Roehampton, London. Co-curated and co-organised with Gigi Argyropoulou. Presentations by Professor Nicholas Ridout, Dr Sophie Nield, Dr Eve Katsouraki, and Tim Jeeves. Funded by Roehampton University’s Centre for Performance and Creative Exchange. (2011) Co-curator of the festival ‘Performing Text / Reading Performance’ (PANDEMIC), Bank Street Arts Gallery, Sheffield, U.K. Conferences & Symposia Presentations 2021 (Paper) Performance Studies International (PSi#25) Conference, Rijeka, Croatia. Covid-19 related conference cancellation. 2020 (Paper) Performance Studies International (PSi#25) Conference, Rijeka, Croatia. Covid-19 related conference postponement. 2019 (Paper) Performance Studies International (PSi#25) Conference, Calgary, Canada. 2019 (Paper) ‘To kill, to heal, to transform: Coming-in-between ideas, institutions, and practices’, Performance Philosophy Conference, University of Amsterdam, Theatre Studies. 2017 (Paper) ‘IDEA: THIS IS GOOD: On Neoliberal OverFlows and the Reconceptualization of Economy’, Brunel Theatre Research Seminar Series, London. 2017 (Paper) ‘IDEA: THIS IS GOOD: On Neoliberal OverFlows and the Reconceptualization of Economy’, PSi#23 (Performance Studies International) Conference, Hamburg, Germany. 2017 (Paper) ‘The Contemporary Dance Economy: Problems and Potentials in the Current Neoliberal Moment’ Dance Fields: Staking a Claim for Dance Studies in the 21stCentury, University of Roehampton, London. 2016 (Paper) ‘On the production of the social in contemporary performance practices’. Society for European Philosophy (SEP/FEP), London, UK. 2016 (Paper) ‘Re-turning to The Show: Repetition and the Construction of Spaces of Decision, Affect and Creative Possibility’, REPETITION/S: Performance and Philosophy in Ljubljana, Slovenia. 2016 (Paper) ‘On the Production of the Social in the Contemporary Moment: Performance, Neoliberalism and Resistance’, GRiT, Birkbeck Centre for Contemporary Theatre, Birkbeck, University of London. 2015 (Paper) Cut & Paste: Dance Advocacy in the Age of Austerity SDHS/CORD Conference, Athens, Greece. 2015 (Paper) Dancing Economies: Currency, Value and Labour Conference, Royal Holloway, University of London 2014 (Paper) IFTR World Congress: Theatre & Stratification, University of Warwick, UK. 2013 (Paper) New Visions On Dance Symposium (Society for Dance Research & Dance HE Middlesex) Middlesex University, London. 2013 Invited Plenary Talk and Workshop at ‘Generative Indirections’, Performance Studies International (PSi) Regional Cluster Conference, Portugal. 2013 ‘Talking about Economy/ies’, Performance Studies International (Psi#19) Conference, Stanford University, US. Co-created with Gigi Argyropoulou. 2013 (Paper) What is Performance philosophy? Staging a New Field Conference, University of Surrey, UK. Panel title: Ethics & Aesthetics in Performance Art: From Marina Abramovic to Tino Sehgal. 2012 (Installation-Performance)’ Talking with Strangers: What is Violence?’, Potentials of Performance, Performance Matters, London. 2012 (Paper) PSi #18 (Performance Studies International) Conference, Leeds, U.K. June 2012 (Paper) Communication in Context Conference, University of Roehampton, London. 2011 Performance Studies International (PSi) Conference – Athens Cluster, Athens, Greece.Presentations:– ‘Synchronicity in Performance’– ‘Manifesto Lexicon’ 2011 (Performance) Martyro, Performance Matters Symposium, Toynbee Studios, London, U.K. 2011 (Paper) ‘Failing Narratives, Failing Systems: Failure as Necessity in Performanceand Society’, 3rd Annual PhD Student Conference, University of Wolverhampton, U.K. 2011 (Lecture-Performance) Muddle, muddle toil and trouble: Disorder and potentiality – A Lecture- Performance.‘Communi(cati)on of Crisis Symposium’, Nafpaktos, Greece. Organised by the Institute for Live Arts Research under the auspices of Athens University and Minicipality of Nafpaktos. 2011 (Performance) Metrology, Making & Unmaking Text Across Performance Practices and Theories Conference, Funded by Beyond Text, an AHRC Programme,Centre for Creative Collaboration, London, U.K. PERFORMANCE CREATION Selected Works (In preparation) Martyro Exploded (working title). June 2015 Now What?, Michael Cacoyannis Theatre, Athens, Greece. Co-created with Elena Koukoli. Performed by Stella Dimitrakopoulou, Elena Koukoli, and Katerina Paramana. 23 April – 9 May 2014 IDEA: THIS IS GOOD, Gasworks Gallery, London.(Part of the archive of destruction by Pedro Lagoa). 1 November 2013 Video Performances co-created with Kathleya Afanador, Antje Hildebrandt, Elena Koukoli, and Ligia Zuccarello Rizzo (as part of Toothache Duets, by Eirini Kartsaki and Louise Douse) ]performance s p a c e [, London. 27 June 2013 Talking about Economy/ies, Performance Studies International (PSi#19),Studio 2, Building 550, Stanford University, US.Co-created with Gigi Argyropoulou. 14 & 15 December 2012 Talking with Strangers: What is Violence?, Galeria Boavista, Lisbon, Portugal. 26 & 27 October 2012 Talking with Strangers: What is Violence?, Potentials of Performance, part of Performance Matters, The White Building, London.– November 2011 Muddle, muddle toil and trouble: Disorder and potentiality – A Lecture- Performance. Part of PANDEMIC, Bank Street Arts, Sheffield, U.K.Performed by Stella Dimitrakopoulou, Antje Hildebrandt, Eirini Kartsaki, and Katerina Paramana. October 2011 Martyro, Trash Salon, Performance Matters Symposium, Toynbee Studios, London.Performed by Katerina Paramana. August 2011 Metrology, Stockholm Fringe Fest 2011, Kultuhuset, Stockholm.Performed by Antje Hildebrandt and Katerina Paramana. June 2011 Muddle, muddle toil and trouble: Disorder and potentiality – A Lecture- Performance.Jubilee Building, University of Roehampton, London.Performed by Antje Hildebrandt, Eirini Kartsaki, Elena Koukoli, and Katerina Paramana. June 2011 Muddle, muddle toil and trouble: Disorder and potentiality – A Lecture- Performance.‘Communi(cati)on of Crisis’ Symposium, Nafpaktos, Greece. Organised by the Institute for Live Arts Research under the auspices of Athens University and Municipality of Nafpaktos.Performed by Elena Koukoli, Nana Sachini, Eirini Kartsaki, and Katerina Paramana. February 2011 Metrology, Jubilee Theatre, University of Roehampton, London.Performed by Antje Hildebrandt and Stella Dimitrakopoulou. January 2011 Metrology, C4CC (Centre for Creative Collaboration), LondonPart of Making & UnmakingText Across Performance Practices and Theories. Funded by Beyond Text, an AHRC ProgrammePerformed by Antje Hildebrandt and Stella Dimitrakopoulou. January 2011 Metrology, Part of Resolution!, The Robin Howard Dance Theatre,The Place, London.Performed by Antje Hildebrandt and Stella Dimitrakopoulou. May 2010 E Pulvere Lux Et Vis, 125 Magazine, Photoshoot Choreographer, Sept. 2010 Art Issue (16), p. 212-219, London. Photography Dan Swallow, Art Director Martin Yates.( October 2009 Tea Party, Deptford X Festival, London. Co-created and performed with Michelle Lynch, Antje Hildebrandt, and Laura Blackley. In collaboration with Artmongers. June 2009 The Adult Waltz Starving Loretta Home, Studio Theatre, Laban, London. April 2009 Subjectile, Co-created and performed with Kathleya Afanador, Laban, London. Concept and Design Alex Rainford-Roberts. January 2009 Three, Studio Theatre, Laban, London. May 2006 ‘Aint’I a Woman’, Co-created with Stacy Wilson, Dance Theatre, Clarice Smith Performing Arts Centre, MD, US. April 2006 Hang Pictures on the Air, Dance Theatre, Clarice Smith Performing Arts Centre, MD, US. Performed by Katerina Paramana. December 2006 Distance, Laboratory Theatre, Clarice Smith Performing Arts Centre, MD, US. December 2005 From the Real to the Surreal, Dance Theatre, Clarice Smith Performing Arts Centre, MD, US. Performed by Yoko Feinman and JR Russ. Teaching Areas: Theory and practice across contemporary theatre, performance, live art, and dance Continental Philosophy Critical theory Katerina has taught workshops, seminars, and lectures on theatre, performance, live art, and dance on undergraduate and postgraduate programmes. She has also supervised and examined BA, MA, and PhD dissertations and has delivered workshops for the techne AHRC Doctoral Training Programme. She is Fellow of the Higher Education Academy (FHEA).
Dr Mary Richards Dr Mary Richards
Associate Dean / Reader - Theatre
I am a Senior Fellow of the Higher Education Academy, a Fellow of the Royal Society of Arts, Manufactures and Commerce and the former Vice Dean (Education) for the College of Business, Arts and Social Sciences of Brunel University London (August 2014 – July 2017) It was during my time as Vice Dean (Education) that I led on the development of the Bachelor of Arts and Sciences (BASc) degree programme in Global Challenges, working with colleagues from across the institution. Indeed, I stepped down from my role as Vice Dean in order to take up the role of Programme Director of this new, but complex, provision. The degree includes strand pathways on planetary health, social cohesion, security, and global innovation: providing an opportunity for students to study in a more holistic manner through engagement with a range of natural and social sciences, as well as humanities disciplines. This is done in recognition that the complexities of the contemporary world do not necessarily respect disciplinary boundaries and graduates need the skills to met the demands of a rapidly changing global context as well as the climate emergency. Moreover, elements of the programme have been developed in partnership with the United Nations Development Programme and we are members of United Nations Academic Impact and the Planetary Health Alliance. You can find out more about the programme here. In summer 2019 we gained funding to take students on a field trip to the sites of their study: refugee and resettlement sites in Zambia (Mayukwayukwa and Meheba). This was to develop further and practical understanding of the multi-factorial challenges to the development of sustainable livelihoods faced by people there, as well as to gain preliminary data for future research projects. You can find out more about this here In terms of other research, I have been funded by the Science and Technology Facilities Council (2015-2017) to work with the particle physicist Dr Jo Cole from the College of Engineering Design and Physical Sciences. Together we developed a project entitled The Elusive Ms Higgs: a detective fiction of elementary truths which sought to investigate the use of immersive theatre practice as a tool to engage school pupils with the particle physics associated with the discovery of the Higgs boson. I have published papers and articles on live art and performance. Most recently, a article which considers, Tino Sehgal's approach to producing without producing objects: A fully revised and updated second edition of my monograph on Marina Abramović (Routledge) was published in 2019 and is available here My research interests include a concern with the performance body in extremis, the politics of participatory practice, live art and representation. I would be happy to hear from potential research students with corresponding interests. Mary leads or contributes to a range of undergraduate modules including Perspectives 2 and 3, Professional Experience and Development, and Final Production. Activities: Publications Revised and Updated - Marina Abramovic (Routledge Performance Practitioners) ed. Franc Chamberlain, London/New York, in press 2018/19 Richards, ME. (2017) 'The orchestrated crowd: choreography, chorus, conceit in Tino Sehgal’s These Associations.'. Choreographic Practices, 8 (2). ISSN: 2040-5669 Canvassing the Will of the People: Surveys, Suffering and Re/presentation” in Secondary Communities ed. John Reardon, Project Projects, New York 2010 “Martyrs and Martyrdom” The Encyclopedia of Death and the Human Experience, edited by Clifton Bryant and Dennis Peck. California : Sage Publications, published September 2009 ISBN 978-14-12951-7-84 - The publication was voted CHOICE Outstanding Academic Title for 2010. "Marina Abramovic (Routledge Performance Practitioners)" ed. Franc Chamberlain. London/ New York, published September 2009 ISBN: 978-0-415-43208-5 "Wasting Away: the diminishing body as public spectacle" in Rubbish, Waste and Litter. Culture and Its Refus(e)als edited by Tadeusz Rachwał , published October 2008 ISBN 978-83-89281-56-2 “Specular Suffering: (Staging) the Body in Pain” P.A.J: A Journal of Performance and Art, No. 1, January 2008 (PAJ 88), 108-119 “Sewing and Sealing: Speaking Silence” in Art in the Age of Terrorism, Paul Holberton ISBN 1 903470 41 2, September 2005 “Ron Athey, AIDS and the Politics of Pain” in Body, Space and Technology (refereed e-journal), Volume 3, Number 2, Brunel University London - 2003 ISSN 1470-9120 Keynote Speaker March 2006 Here, There and Elsewhere: displacement, migration and identity De Montfort University and the Phoenix Centre, Leicester 'Imaging Dis-location: Silent Bodies Out-of-Joint' Conference Papers or Invited Speaker 2013 "Productivity as a discourse: Tino Sehgal's These Associations (2012)" TaPRA Glasgow 4-6 September 2013 ‘Clumsy, furtive traces: a 'repository' of interrupted, defiant,unauthorised versions?’, Performing Documents Conference: Arnolfini Gallery and Bristol University, 12-14 April 2013 2012 'This brief encounter – Re: Constructing our ‘situation’ Intersections Conference AV12, Newcastle University March 2012 2006 Rubbish, Waste, and Litter; Culture and its Refusals 'Wasting Away: the diminishing body as public spectacle\', Warsaw School of Social Psychology, Warsaw, Poland. November (Papers to be published) 2006 TaPRA University of London at Central School of Speech and Drama, London 'The Most Wanted Man in the World: the absent body as palimpsest' September 2006 Performing Human Rights'Staging Protest: A Complete Stitch-Up' Performance Studies International (PSi), Queen Mary's, University of London, June. 2005 TaPRA - Inaugural Conference Manchester University, Manchester 'Food for thought or going nowhere Fast - Marina Abramovic and David Blaine go hungry' 2004 Collateral Damage: Art in the Age of Terrorism Southampton Institute 'Sewing and Sealing: Speaking Silence' December 2004 2003 Discovering Latin America, Cervantes Institute, London. 'Guillermo Gomez Pena: Border Crosser and Ethno-artist' 27-28th September, 2003 2003 Body Modification: Changing Bodies Changing Selves Macquarie University, Sydney 'Stigmata: My Body, My Language', 23-26th April 2003 2002 Narrative of Health, Illness and Disease St Catherine's College, Oxford 'Ron Athey, AIDS and the Politics of Pain'. June 2002
Ms Fiona Templeton Ms Fiona Templeton
Senior Lecturer in Drama
Fiona Templeton is an internationally recognised innovator in writing and directing for theatre and performance. She is currently Artistic Director and founder of The Relationship, a performance group based in both New York and London; and in the 70s was co-founder of the influential Theatre of Mistakes. Her large-scale site-specific work has won numerous international awards. Her publications include plays, poetry and writing on the theory of performance. Fiona also collaborates with artists in other fields including visual arts, dance and music such as Elliott Sharp, Samita Sinha, Pamelia Kurstin, Molissa Fenley, Siobhan Liddell and Joan Jeanrenaud. She has directed the work of innovative writers including Elfriede Jelinek (whom she has also translated), Michael Gottlieb, Suzan-Lori Parks and Leslie Scalapino. Her work is shown at venues as varied as the Tate Britain, the Tramway in Glasgow, the Vortex in Dalston, ODC Theatre in San Francisco, the Puerto Rico International Festival of Theatre, Fort Jay on Governor’s Island in New York Harbor, the abandoned Pennsylvania Eastern State Penitentiary, and as commissions for Chashama Theatre and the Poetry Project in New York, and the Cultural Capital of Europe Festivals of Rotterdam and Lille. Collaborating organisations have included Amnesty International, French Railways, the Slovene Socialist Party headquarters, the offices of the European Union, a commercial accounting firm in the city of London, and a snackbar on Brick Lane. She has received awards and fellowships including from the Rockefeller Foundation, the US National Endowment for the Arts, the New York Foundation for the Arts, and has held a Senior Judith Wilson Fellowship in poetry and writing for performance at Cambridge. Theory and practice of experimental writing for performance, and of playwriting; theory and practice of performance, and of directing; European theatre and performance, North and South American theatre and performance; interdisciplinary performance. I welcome research students in the above areas, particularly in practice-as-research.Activities:PRODUCTIONS/INSTALLATIONS since 2000: In preparation: Retrospective of my work as co-founder of The Theatre of Mistakes, at Tate Britain; curated by Jason Bowman for New Work Network, 2011-22 The Medead in concert, collaboration with composer Samita Sinha, a New York State Council on the Arts commission, 2012 Co-Artistic Director of Voxvox International Festival (a festival of collaborations between poets and composers, a Voiceworks project), Brunel University London/Birkbeck University/Guildhall School of Music/Wigmore Hall, for 2012 2011 The Dust, by Michael Gottlieb, directed at The Poetry Project, New York, for 9/11 10th anniversary 6 things, installation at CGP London, Southwark Park 2010 Flow, by Leslie Scalapino, directed at Poets’ House, New York, coproduced by Belladonna and the Poetry Project; & at Dixon Place, New York; ODC Theater, San Francisco The Sinking of the Titanic by Gavin Bryars, collaboration with Bob Gilmore, Brunel University London 2008-10 Going (with Coming), Chashama Theatre, New York; Dixon Place, New York; Psi15, Zagreb; Puerto Rico International Festival; Movement Research Festival 2008 The Early Medead (sections 1,2, & 3 of The Medead), at Fort Jay, Governor’s Island, New York Harbor Rudens, by Louis Zukofsky, and Bluebeard, by FT, Links Hall, Chicago, in “Returning from One Place to Another: A Poet’s Theater” 2007 365 Days/365 Plays by Suzan-Lori-Parks, various sites in Triborough New York 2006 Medea in Aia (section 1 of The Medead), 15 Nassau (LMCC Swing Space), NYC 2005 The Later Medead (sections 4,5, & 6 of The Medead), a Surge commission, The Tramway, Glasgow Sickness or Modern Women, by Elfriede Jelinek, reading translated & directed by FT, Martin Segal Theatre, CUNY Grad Center The Medead, sections at Mabou Mines, New York (in residence 2004-5) 2004 Invisible Dances, with Bock & Vincenzi, Venice Biennial Sleepwalks & Oracle, Site/Sight Symposium & tEXt Festival, Exeter, England 2003-4 L’Île (The Island), A new theatre work commissioned for the opening of Lille European Cultural Capital 2004, France; 10 actors, 30 volunteers, 70 locations 2002 DU Die Stadt (version ofYou-The City) (dir. Judith Wilske, Fiona Templeton consultant), Hamburg 2001 The Medead, development presentation of sections 1 & 5, Nuffield Theatre, Lancaster, funded by North West Arts and the Arts & Humanities Research Board. Development incl: New Dramatists, NY; Playlabs Minneapolis; International Women Playwrights’ Conference, Athens; New York Theatre Workshop; Toynbee Hall, London 2001 JIJ–de Stat (version of You - The City), commissioned key project of Rotterdam Cultural Capital of Europe, producer Rotterdamse Schouwburg PUBLICATIONS SINCE 2000 Books: Elements of Performance Art, theory and exercises, forthcoming 2011/12, New Work Network Medea in Aia, New York, Belladonna Series, 2008 Going, play, co-written with Anthony Howell and The Theatre of Mistakes, Grey Suit editions, London 2007 Mum in Airdrie, poem, Object Permanence books, Glasgow, Scotland, 2006 Invisible Dances, text for performance by Bock & Vincenzi, London: Arts Admin 2004 Delirium of Interpretations, an antibiographical play, Green Integer Press, L.A. 2003 Published critical articles include: -“Acting Brackets – on directing the non-textual aspects of Leslie Scalapino’s Flow” in Jacket Magazine, 2011 -“Speaking for Performance”, chapter in Sensualities/Textualities & Technologies: Writings of the Body in 21st Century Performance, Palgrave MacMillan, London, 2009 -Introduction to Media Trilogy, by John Jesurun, No Passport Press, New York 2009 -“medium, remedy, mortality, fiction, acting, absence, capture, loss, recognition” in Multi-Media, ed. Nick Kaye, London: Routledge 2007 -from Elements of Performance Art, in Factorial, Providence and Tokyo, 2003 -\"Resisting Memorialisation\" conversation with Andrew Quick, Performance Research Journal, 2001 -\"Excavation (On editing)\", note in Performance Research Journal, 2001 Conferences, talks and events include: 2010 Invited Speaker, panel on Poets’ Theatre, MLA Convention 2009 Shift leader and Workshop leader, Performance Studies International Conference (PSi15), “MISPERFORMANCE: Misfiring, Misfitting, Misreading”, Zagreb, Croatia 2009 Keynote speaker, “Bacaci Sjenki, Forum on Performance and the City”, Zagreb, Croatia 2008 Participating writer, “Writing Encounters”, symposium York St John University, York 2008 Participating writer, “The Long Relay”, Serpentine Gallery, London 2007 Keynote speaker, “Balkan Express – cross-cultural collaborations in New Europe”, Ljubljana, Slovenia 2007 Panel on “Theatre in the Political Arena”, part of PEN World Voices, Martin Segal Theatre, City University of New York Graduate Center 2006 “A Poetics of Performance” Talk at Birkbeck College, London, in Talkstalkstalks series, curated by Prof. Robert Hampson, Royal Holloway 2006 Talk and Workshop on \"Audience and Attention\", as member of The Presence Project, (Stanford University/Exeter University, 2005- ongoing) 2005 Talk at the University of Tbilisi, Republic of Georgia 2005 Guest intervention in ‘Wrights & Sites’, Walk21-VI - Everyday Walking Culture, The 6th International Conference on Walking, Zurich, Switzerland 2005 \"The Art of Relation\", research workshop and talk, Chisenhale Dance Space, London 2002 Panel presentation on art and copyright, ICA London 2000 \"Trusting the Landscape\", panel on poetic theater, New Dramatists, New York