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Nicola Abraham |
ARTiculate 2 REconstruct |
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Hannah Ballou |
hoo:ha, Illuminating and exploiting the dissonance between laughter and desire with the female comic body |
|
Claudio Beghelli |
Intercultural exchanges in theatrical culinary practices. |
|
Marcelo Beré |
The Essential Clown |
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Anna Brownsted |
Producing the Protagonist |
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J. Luis Manuel Campos |
Epistemological Performance: Conceptualizing the Epistemic Subject in Contemporary Theatrical Practices |
|
Rachel Cockburn |
The Aesthetics of Auto( )graphy |
|
Olga Danylyuk |
Strategies of Intermedial Praxis and Impact on the Experiencer |
|
Jon Davison |
The Product of Clowning |
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Helen Evans |
Intramediality, Surveillance and the Interactive Turn |
|
Daniel Felstead |
Towards a Spatial Materiality: A theoretical and practical investigation into interaction and performativity within the museum domain |
|
Charla Givans |
Dramatherapy and Children and Young People with Depression: An Investigation into Evaluation Models |
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Jessica Hartley |
Guided Practices in Facing Danger: Experiences of Risky Work with Adolescents |
|
Christina Kapadocha |
Acting The Tragic Heroine: A Somatic Experience of Euripides and Shakespeare |
|
Oliver Lidert |
Integration and Conflict: An investigation of Afro-American Aesthetics in Musical Theatre |
|
Shaun May |
You Have to ‘Be There’: A Heideggerean Phenomenology of Humour |
|
Deirdre McLaughlin |
Emotional Memory: An Exploration of the Actor’s Inner Life On the Stage and In the Mind |
|
Joseph Mercier |
F*ck the Stage: Queer Strategies for (Re)Directing Dance Theatre Practices |
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Helen Murphy |
Tomorrowland: Modernity and Western Europe's Scenographic Orient |
|
James Palm |
Acting in Good Faith: A Paradigm of Acting and Actor Training |
|
Claire Pamment |
The Bhand Mode: Performative Trickstering in Pakistani Ritual, Theatre and Television |
|
Lazlo Ilya Pearlman |
Baring it all and Confessing Lies: Strategies to create productive disruption via ‘autobiographical’ and ‘confessional’ solo performance |
|
Will Pinchin |
Mask as Myth, Myth as Mask: Investigating the archetypal tools available to the actor creator – Lecoq and Campbell |
|
Alejandro Postigo |
Rediscovering Spanish Musical Theatre: Exploring an Intercultural Adaptation of Copla |
|
Rebecca Reeves |
Devising realism: examining the use of realist strategies for characterisation in contemporary British devising practices. |
|
Jo Ronan |
Collective Ownership, Capital and Creating Performance: Developing a Sense of Ownership in Collaborative Theatre Practice |
|
Canan Salih |
The Performance and Performativity of a Diaspora Identity through Emplacement and Mobility of London-Turkish-Cypriot Youth |
|
Jo Scott |
New Forms of Liveness in Live Intermedial Performance |
|
Kiki (Vasiliki) Selioni |
A Re-evaluation of Laban Principles for Actors in view of the Aristotelian Concept of Mimesis |
|
Qasim Shah |
The Intercultural Transfer of Voice Practice |
|
Mark Swetz |
Blind Spectatorship: Directing, Dramaturgy and Non-Visual Accessibility |
|
Phoenix Thomas |
Bringing Queer to the Masses: Overcoming hegemonic modes of representation in costume design |
|
Lisa Woynarski |
Levelling the Greenhouse: Toward an Ecological Performance Aesthetic |
|
Young Yoo |
The Cult of The Feminine in Surrealist Theatre |
