I am a teacher, researcher and a theatre director specialising in participatory practice and known in particular for my research on so-called Immersive Theatre. I have been at Central since 2004, in the main teaching on BA Drama, Applied Theatre and Education (DATE), while also contributing to the MA and PhD programmes. I teach theory and practice: at Central, I have directed, co-directed or devised 15 plays and productions, mostly with students on DATE.
I trained at Bretton Hall College where I formed Armadillo Theatre with David Gilligan, Nina Anderson and Tim Dowan – a Theatre in Education company making performances for schools, hospitals and other non-theatre venues. I subsequently worked for a number of other companies as an actor and facilitator, as well as teaching at Wimbledon School of Art, South Bank University, Richmond American University, Roehampton University, and Goldsmiths College, University of London. I completed my PhD at Goldsmiths, Control and Agency in Audience Participation, in 2007.
My teaching and research overlaps in my focus on collaborative creative processes and participatory practices. Audience Participation in Theatre: Aesthetics of the Invitation, a monograph theorising how spectators are transformed into performers, was published by Palgrave Macmillan in 2013. Applied Theatre: Aesthetics, a short monograph with accompanying essays from other researchers, was published by Bloomsbury in 2014: it explores the idea of the aesthetic in performance practice with social aims. I am currently working on chapters relating to spectatorship and participation in ‘intermedial’ theatre and the relevance of Jacques Ranciere’s theory to socially engaged theatre-makers; I am also developing a monograph project on the aesthetics of participation.
I was co-convenor of the Theatre and Performance Research Association’s working group on Performance, Identity and Community, from 2014 to 2016. I am Secretary to the Standing Conference of UK Drama Departments (SCUDD).
2016.‘Theatre in the “Forest of Things and Signs”’, The Journal of Contemporary Drama in English, 4:1.
2015. Applied Theatre: Aesthetics (London: Bloomsbury Methuen).
2013. Audience Participation in Theatre: Aesthetics of the Invitation (London: Palgrave Macmillan).
2012. ‘On Immersive Theatre’, Theatre Research International 37:3, pp. 221-235.
2011. ‘Noise, Conceptual Noise, and the Potential of Audience Participation’ in Theatre Noise, Edited by Lynne Kendrick, L. and David Roesner (London: Cambridge Scholars’ Press).
My research and teaching is builds on practice that experiments with performer-audience relationships, strategies of participation, and the spectator’s experience of time and space. Currently this usually takes the form of work made with students, for different audiences inside and outside Central, though I have also made work with my colleague Jane Munro and her company The Visitors, and other collaborators. All of this work is inspired by making and touring interactive performances for children and young people.
Nothing to declare.