Spank [at Queer in Europe, Exeter University, September 08]

Spank follows the journeys of two women as they reveal stories from private and public sources set apart by two centuries. It investigates notions of 'faction' and what is filtered out historically within a theme of female trauma and the body. [ABSTRACT BY THE AUTHOR]

Psyche and the arts: Jungian approaches to music, architecture, literature, painting and film

Does art connect the individual psyche to history and culture? Psyche and the Arts challenges existing ideas about the relationship between Jung and art, and offers exciting new dimensions to key issues such as the role of image in popular culture, and the division of psyche and matter in art form. Divided into three sections - Getting into Art, Challenging the Critical Space and Interpreting Art in the World - the text shows how Jungian ideas can work with the arts to illuminate both psychological theory and aesthetic response. Psyche and the Arts offers new critical visions of literature, film, music, architecture and painting, as something alive in the experience of creators and audiences challenging previous Jungian criticism. This approach demonstrates Jung’s own belief that art is a healing response to collective cultural norms. This diverse yet focused collection from international contributors invites the reader to seek personal and cultural value in the arts, and will be essential reading for Jungian analysts, trainees and those more generally interested in the arts. [From the Publisher]

Spank performance tour [at Signals 07 arts festival]

Spank follows the journeys of two women as they reveal stories from private and public sources set apart by two centuries. It investigates notions of 'faction' and what is filtered out historically within a theme of female trauma and the body. [ABSTRACT BY THE AUTHOR]

Spank performance tour [at Betsey's Salon of Interdisciplinary Arts]

Spank follows the journeys of two women as they reveal stories from private and public sources set apart by two centuries. It investigates notions of 'faction' and what is filtered out historically within a theme of female trauma and the body. [ABSTRACT BY THE AUTHOR]

Spank performance tour [at Further investigations, The Space In Between]

Spank follows the journeys of two women as they reveal stories from private and public sources set apart by two centuries. It investigates notions of 'faction' and what is filtered out historically within a theme of female trauma and the body. [ABSTRACT BY THE AUTHOR]

Virtual Infants in Zoo Indigo’s Under the Covers This is Now, This is Live…

The article This is Live this is now (2011), contextualises the performance Under the Covers (2009) by Zoo Indigo. The journal article is written by Ildiko Rippel on behalf of Zoo Indigo theatre company (Rosie Garton and Ildiko Rippel) and it is published in the online Body, Space and Technology Journal:

A Practical Approach to Using Motion Capture in Performance Dance

Markerless systems are becoming more ubiquitous due to their increased use in video games consoles. Cheap cameras and software suites are making motion capture technologies more freely available to the digitally inclined choreographer. In this workshop we will demonstrate the opportunities and limitations provided by easily accessible and relatively inexpensive markerless motion capture systems. In particular we will explore the capacity of these systems to provide useful data in a live performance scenario where the latency, size and format of the captured data is crucial in allowing real-time processing and visualisation of the captured scene

Through Class Darkly: Class in the British TV Noir

Class has always been at the heart of the television crime drama. Whether it is the post-war paternalism of Dixon of Dock Green (1955 – 1976), the harsh social realism of The Sweeney (1975-1978), or the almost mythical evocations of Britain in Heartbeat (1992 – 2010) and Midsomer Murders (1997- present), class and crime have always been seen as being inextricably linked. Since the 1990s, the British crime drama has been influenced by successive waves of cultural imports from, firstly, the US and then from Scandinavia. There is now a recognisable ‘genre’ for what we might think of as British TV Noir. Beginning with shows such as Cracker (1993 – 2006), Prime Suspect (1991 – 2006) and Messiah (2001) and continuing with dramas like Red Riding (2008), Southcliffe (2013) and Hinterland (2013 – present), the British TV Noir employs narratives and stylistic tropes that might usually be associated with the cinema of the 1940s. Although drawing influence from high profile shows such as Twin Peaks (1990 – 1991), Millennium (1996) and (latterly) The Wire (2002 – 2008), CSI (2000 – present) and The Killing (2007) these British Noir shows also articulate the nation’s shifting class system. As Susan Sydney-Smith has ably demonstrated, the crime drama is “historically contingent” (Sydney-Smith, 2002, p. 5) and shaped by the surrounding socio-political, as well aesthetic, context. To this end, this chapter traces the depiction of class in three key crime series – Prime Suspect, Red Riding and Southcliffe - and explores how social class, and more importantly, its changing face provides a constant background to the narratives and characterisations. These three texts were each produced at pivotal moments in Britain’s relationship to class – Prime Suspect was shown 6 months after Margaret Thatcher vacated office; Red Riding was produced in the midst of the global recession in 2008 and Southcliffe was made in the shadows of stringing welfare and immigration reforms. These texts span three successive political administrations and over two decades of social and political change. Understanding the relationship between criminal activity and class in these dramas however is far more complicated than simply reading the historical context through the text. Commensurate with its cinematic incarnation, TV Noir is both reflective and productive, employing visual and narrative tropes to manipulate, as well reflect, its audience’s moral and social positioning. The picture that emerges from an examination of class and the British TV Noir is one of suspicion and discontent. As Andrew Spicer suggests (with reference to British cinema) the Noir sensibility both depicts and critiques a society that it sees as being “class-ridden, racist and misogynist” (Spicer, 2002, p.202). This is certainly the case with the texts that are being examined here, as social positions and taxonomies are constantly being redefined and renegotiated.

'Producing the Scene': the Evolution of the Director in British Theatre 1900-50

The role of the director as the individual who harnesses and controls resources to shape the theatrical product to a personal artistic vision, begins to emerge in British theatre in the early years of the twentieth century. What distinguishes the role from that of the actor-manager who had led the profession since the seventeenth century, is that it separates off from the leading actor in performance. The power and authority of the director (or producer as he or she tended to be known initially) is exercised in the pre-performance stage. In the first half of the century there were still old-style actor-managers—Donald Wolfit is a prime example—and many of the new directors had begun their careers as actors and some continued to act their in their own productions. But the perception of the function of the director began to change radically. In part this was linked to the early attempts to create a new model of producing company or ‘repertory’ theatre which required a different set of administrative as well as artistic skills to tackle the challenge of a short-run system of multiple play production. This became especially important in the developing network of regional repertory theatres which were established as autonomous, locally-specific institutions predicated on policies opposed to the dominant commercial ethos. The best-known of the early directors, most notably H.Granville Barker, confined their radical experiments to short-lived metropolitan experiments, or, as in the case of Terence Gray and J.B.Fagan, operated within the influential Oxbridge nexus. Others such as H.K.Ayliff, Herbert Prentice, William Armstrong and William Bridges-Adams remain comparatively obscure because of their long-term ‘provincial’ connections or, as in the case of Nugent Monck and Edy Craig because their creativity was largely channelled through amateur actors. This chapter will explore the evolving role of the director as both a necessary functionary and an artistic innovator within the changing structures of British theatre.

A City's Toys: Theatre in Birmingham 1914-1918

This chapter provides a wide-ranging account of theatre in Birmingham, the UK’s second largest city. As a vital centre for the production of mass armaments and vehicles essential for the war effort, Birmingham was home to a rapidly expanding and socially diverse population. I show how theatres overcame wartime constraints to reflect that diversity with examples drawn from the popular entertainment provided by the city’s music halls, variety and melodrama theatres contrasted with the more decorous touring plays, musicals and spectacular home-grown pantomimes enjoyed at the prestigious Theatre Royal and Prince of Wales. The dogged attempts by the recently-established Birmingham Repertory Theatre to sustain an artistically and intellectually ambitious programme of new and classic drama also reveal a more complex response to the effects of war.

Shakespeare and the Re/Vision of Indian Heritage in the Postcolonial British Context

As part of the 2012 World Shakespeare Festival, the Royal Shakespeare Company staged a production of Much Ado About Nothing set in India. Shakespeare’s Messina in sixteenth century Italy was transposed to twenty-first century Delhi and with a company of actors who were all of Indian heritage. The casting of individual British Asian actors in mainstream UK productions of Shakespeare is no longer unusual. What was unprecedented here, however, was that not only was the entire cast ‘Asian’ but the director was not, as is standard practice, a leading member of the white British theatrical establishment. Instead the director, Iqbal Khan, is the son of a Pakistani father who migrated to England in the 1960s. I use the term ‘Indian heritage’ with great caution conscious that what began under the British Raj in nineteenth century India led through subsequent economic imperatives and exigencies, and political schism to a history of migratory patterns which means that today’s British Asian population is a complex demographic construct representing numerous different languages and cultural and religious affiliations. The routes which brought those actors to play imagined Indian Shakespeare in Stratford-upon-Avon in July 2012 were many and various. I explore in this chapter the way in which that complexity of heritage has been brought to bear on the revisioning of Shakespeare by British Asian theatre makers operating outside the theatrical mainstream. In general because of the social, economic and institutional challenges facing British Asian theatre artists, the number of independent professional companies is comparatively small and for the most part, their work has focused on creating drama which interrogates thorny questions of identity formation and contemporary cultural practices within the ‘new’ British Asian communities. Nevertheless for artists born and/or educated in the UK the Western classical canon, including of course Shakespeare, is as much part of their heritage as the classical Indian narratives and performance traditions which so powerfully evoke collective memories of the lost ‘home’ of their elders. By far the most consistent engagement with Shakespeare has been seen in the work of Tara Arts which was the first British Asian theatre company set up in 1977. The artistic director Jatinder Verma brings his own ‘transformed and translated’ heritage as an East African-born, Punjabi-speaking, English-educated, Indian migrant to the UK to plays as diverse as A Midsummer Night’s Dream, Troilus and Cressida , The Tempest and The Merchant of Venice. I discuss examples of Tara productions in the light of the way Shakespeare’s plays have been used to forge both creative synergies between parallel cultures and provide a means of addressing the ontological ruptures and dislocations associated with the colonial past.

All the Lab's a Stage: the Use of Drama to Promote Engagement in Higher Education Science

Communicating science can be challenging at any educational level. We used informal and experiential learning to engage groups of potential University applicants in one project that involved staging a play in one of the teaching laboratories at the University of Worcester whilst a second project designed a play in house and took this to schools. In the first project the plot centred on stem cell research. School pupils and students from FE Colleges were offered complementary sessions including a lecture exploring the science behind stem cell research, a discussion on ethical aspects involved and a practical using university facilities. We ascertained attitudes to Higher Education in the students participating before and after the event. We found an enhanced view of the science and a highly significant change in attitude to attending University for students taking vocational subjects at FE level. The second project was aimed at exploring attitudes to ethics and animal welfare among a cohort of 15 – 18 year olds. Students engaged with the issues in the drama to a high degree. Our conclusions are that drama is an excellent way to inform potential students about higher education and HE level science in particular. Additionally we demonstrated the importance of events taking place at HE institutions in order to maximise change in attitudes to HE.

The Object Animates: Displacement and Humility in the Theatre of Philippe Quesne

This article considers the animating role that objects play in the theatre of Philippe Quesne and Vivarium Studio (France). The conventional role of object animation is often characterised by the performer manipulating objects and scenic material on the stage, asserting a control over the environment they are implicated in. In Quesne's theatre, this relationship is democratised. The theatrical apparatus, both materially and conceptually, is set up to enable the flow of animation to be interchangeable, affording an equal agency to the objects being used much as that of the performers. This theatre of animation is drawn through the framing concepts of displacement and humility. Displacement is considered as a compositional strategy that makes us aware of the volume of the stage space beyond the proscenium frame as a plane of composition. The introduction of large inflatable objects, real cars or large roles of fake snow foreground the objects material presence allows Quesne to play with moments of equilibrium, tipping, excess and absence. Humility is traced as a philosophy of objects that transcends the choice, handling and use of material items in Quesne's work. Simple objects take on a specific vibrancy because of how they give shape to the human participants on stage, animating moments of recognition that allows the human figure, its ethics, emotions and humour, to appear.

Work on the Move: mobile and nomadic working methodologies.

‘Work on the move’ is a design, process-driven methodology, which uses multiple locations within an outdoors setting and movement between locations, all of which function as learning places, confined to a specified time period. Between 2012 and 2015, a team of international Higher Education product design educators (all members of Carousel, a co-operation of Erasmus members in Zwolle, Edinburgh, Nantes, Rome, Kortrijk and Oslo), industry professionals and product design students developed and tested four case studies. Each case study was conducted in a different international location and was constructed with a different focus, to help define and refine a definitive working methodology. ‘Work on the move’ explores the influence of ‘place’ upon design, in terms of the impact it has on productivity and creative problem-solving, when working away from the traditional studio/office-based environment. It also explores the significance of shared place, when working directly with a client in situ, and experiencing the place-based influences upon their businesses. While identifying location as part of the design process, the study also seeks to understand the effects of time restriction and working in transit upon creativity and productivity, within the context of specific projects.