I am a theatre academic and researcher but also have a highly interdisciplinary background – first having trained in fine art then film-making, before going on to study philosophy, writing my doctoral thesis on problems of history and phenomenology in Martin Heidegger’s Being and Time. I also worked as a scriptwriter for several years in the UK film industry and have an ongoing interest in making experimental documentary film.
Having grown up in Newcastle-upon-Tyne during the dark days of Thatcherism, I sought refuge in the Tyneside Cinema where I first developed a love for European cinema. I went on to study fine art before moving to New York, where I studied with some extraordinary teachers at the Whitney Museum of American Art’s prestigious Independent Study Programme, such as Hal Foster, Yvonne Rainer and Ron Clark. It was during my time in New York that I encountered theatre and performance for the first time – particularly through the work of the Wooster Group. Returning to the UK, I became involved in film-making before returning to higher education, eventually going on to complete a PhD in philosophy at the University of Essex. I first began teaching as a visiting tutor at Northumbria University and Middlesex in their fine art departments, then as a sessional lecturer teaching philosophy at Birkbeck before taking up a full-time post at Central in 2007. At Central, I teach MA students dramatic writing, dramaturgy, and theatre history as well as, for the PhD programme, research skills and methods.
As a researcher, I am particularly involved with the Theatre, Performance and Philosophy working group at TaPRA where, until recently, I was a co-convenor, as well as the Performance Philosophy network. I have published work in various journals that explores intersections of philosophy, performance and theatre history. I have recently completed a monograph that examines – in the form of a ‘critical history’ or genealogy - the long and profound influence that government had on the development of the modern European stage. I am co-editor of a 2016 collection, Performing Antagonism: Theatre, Performance and Radical Democracy that looks at problems of political performance by drawing on the insights of post-Marxist political philosophy and the theory of agonistic democracy. Two further edited collections are in the pipeline: one of the ways in which Michel Foucault continues to influence theatre and performance scholarship; and the other on performance and failure.
I have supervised PhD theses on: Sartre and actor training; a Heideggerian interpretation of comedy, puppetry and object theatre; the intermedial performance work of Blast theory and Deleuze; Laban and Aristotle; biopolitics and radical performance practices. I am currently supervising PhDs in clown performance; violence and American cinema; theatricality and Derrida; and a phenomenological approach to problems of radio dramaturgy.
2015. ‘Thinking without Authority – Performance Philosophy as the Democracy of Thought’, Performance Philosophy Journal, 1, pp.175-184.
2014. Cultural Value, The Value of Subsidised, Commercial and Amateur Theatre and Dance for Tyneside’s Audiences, AHRC report co-authored with Joshua Edelman and Maja Sorli.
2013. ‘Castellucci’s Theatre of the ‘Abject/Sublime’: or, the Theatre of Failed Transcendence’, Somatechnics 3.1, pp. 31-49.
2012. Rehearsing Boal, co-authored with Joel Anderson in bilingual volume Theater und Subjektkonstitution / Theatre and the Making of Subjects, based on the proceedings of the Kongress der Gesellschaft für Theaterwissenschaft conference in Mainz.
2011, ‘Radical Democratic Theatre’, Performance Research, 16.4 On Philosophy and Participation (Winter), pp.15-26.
2011. ‘Aesthetics and the Political – an essay on Francis Alys’s “Green Line” Cultural Critique, Issue #78 (Spring).
2013. Director, Zdenka’s Journey – an experimental documentary that follows one woman’s journey through the nightmare of the Holocaust (ongoing).
Nothing to declare.