Borderlines: Performances, Disciplines, Dialogues Tuesday 17th June 2014, 9am – 6.30pm

The Drama team and the Performance Research Group warmly invite you to Borderlines: Performances, Disciplines, Dialogues, an interdisciplinary conference to be held on Tuesday 17th June. See below for the programme and details of the keynote speaker, Dr P. A. Skantze (Roehampton University). Please contact Dr Alissa Clarke (a.clarke@dmu.ac.uk) or Dr Simon Featherstone (SFeatherstone@dmu.ac.uk) for further information and to reserve a place.

 

Borderlines: Performances, Disciplines, Dialogues

Tuesday 17th June 2014, 9am – 6.30pm

Location: Hugh Aston Building, Rm 3.96

9.00 – 9.10                    Arrival – Tea and coffee

 

9.10 – 9.15                    Welcome: Rob Brannen – Head of School of Arts

 

9.15 – 10.30                  Panel 1: Performances and Audiences – Chair: Craig Vear

                                       ‘Border Politics: Audience Participation’

 Kelly Jordan

 

“No half measures here”: Participatory responses to immersive theatre

 or Punchdrunk’s The Drowned Man as “a marmite love it or hate it experience”

 Alison Gibbons

 

 ‘Adaptation as Immersive Theatre: Intertextuality, Spectatorship, Experience

 Jozefina Komporaly

10.30 – 10.40                Break

10.40 – 11.55                Panel 2: Bodies, Genders, Ethnicities – Chair: Mike Huxley

                                        ‘Flaying, Killing and Loving: Discourses of Pain and Pleasure in Psychophysical Performer Training’

  Alissa Clarke

 

 ‘Transgressive Border Crossings: Gender, “Race” and Sexuality in Contemporary Dance in Britain during the 1970s’

  Ramsay Burt

 

 ‘Wallpaper Watching … a Moving Image Research Practice in Progress’

  Su Ansell

11.55 – 12.05                Break

12.05 – 13.20                Panel 3: Places – Chair: Simon Featherstone

                                   

‘“shifting every place”: Location and Narrative Structure in Balletic Interpretations of A Midsummer Night’s Dream

 Elinor Parsons

 

‘Love Across the Borderline: Falling for the Foreigner in Summer Madness (1955)’

                                         Steve Chibnall

Mapping the City in the Plays of Martin Crimp

 Tracy Cruickshank

13.20 – 14.20                Light Refreshments

14.20 – 15.20                Keynote – Gap Knowledge at the Borders: Epistemology of Practice Research’

 Dr P.A. Skantze – Roehampton University

15.20 – 15.30                Break

15.30 – 16.45                Panel 1: Performance, Politics and Research – Chair: Ramsay Burt

                                   

‘Shifting Borders’

 Lala Meredith-Vula

Before, After and In-Between: The Border Between Process and the Thing Itself

 Helena Goldwater

 

‘Towards a Poor Research: Performance, Scholarship and Harry Cox’s Singing House’

 Simon Featherstone

16.45 – 17.00                Break

 

 

Location: PACE Building, Studio 2

 

17.00 – 18.15                Panel 5: Bodies, Texts and Intermedialities – Chair: Mark Crossley

                                   

‘Moving Beyond Live and Digital Borders: Fluid Exchanges in Live-Digital Dance Performance’

Kerry Francksen

 

Practice-based research: Quicksilver (2014)’

Composed by Craig Vear, Performed by Sally Doughty and Audrey Riley’

 

‘Text-Sound Composition: My Lengthy Fascination with Gertrude Stein’s Experimental Texts’

 Leigh Landy

 

18.15                             Closing Remarks

                                       Tracy Cruickshank – Associate Head of School of Arts / Head of Drama

18.30                             Dinner – Shivalli Restaurant, Welford Road (payment required)

P.A. Skantze is a director, writer and spectator of theatre and performance based in London and Italy. She works internationally with her performance company Four Second Decay. Her performance projects include the experiment in physical radio, All that FellAudible Montage; or Eurydice’s Footsteps, and Stacks. Author ofStillness in Motion in the Seventeenth-Century Theatre (Routledge 2003) and Itinerant Spectator/Itinerant Spectacle (Punctum 2013), Skantze also writes on sound and the sonic arts, practice as research as a method of considering 17th-century theatre, questions of reception and representation of race and of gender, and the practice of spectating across nations, across centuries and across media. Her most recent research project explores the epistemology of practice as research. Currently Visiting Global Studies Scholar at the Center for the Study for Gender and Sexuality at New York University, Skantze is Reader in Performance Practices in the Department of Drama, Theatre and Performance at Roehampton University.

 

Gap Knowledge at the Borders: Epistemology of Practice Research’

As the ‘theory of knowledge and understanding,’ epistemology has a special interest, according to the OED in its ‘own methods, validity, and scope.’  So ‘how,’ ‘why’ and ‘on what scale’ [methods, validity and scope] seem fine questions to address practice as/in/for/about/around research.  Not in order to reiterate its value in abusiness-model University world, but to deepen our understanding of precisely the methods, validity and scope that make up the epistemology.  As the postgraduates I work with have fashioned their PhDs in the arts of sound, political intervention, video exposition, theoretical writing as practice, I have been witness, of course, to their process as a way of knowing. But the eventual demand a practitioner theorist must face is to invent a new method because she or he has been engaged in an epistemological exploration which can only be effective, be demonstrated, be translated via a way of presenting that crosses the gap of what the practice discovers in order to reach the other side transformed.  If as we work between the borders made by disciplines, those borders expand to reveal gaps, then in the ‘gap epistemology’ of practice and research we can dwell for a while together inventing new crossings or simply sharing the same space while talking together about how, why and on what scale.

My talk will offer various methodologies in motion — motion being vital to the process of crossing — drawing on my own recent explorations in the practice of lyric theory and on the practice of spectating.