Royal Central School of Speech and Drama
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Arts and Humanities Research Evaluation: No Metrics Please, Just Data
No full textPurpose
– The purpose of this paper is to make an explicit case for the use of data with contextual information as evidence in arts and humanities research evaluations rather than systematic metrics.
Design/methodology/approach
– A survey of the strengths and limitations of citation-based indicators is combined with evidence about existing uses of wider impact data in the arts and humanities, with particular reference to the 2014 UK Research Excellence Framework.
Findings
– Data are already used as impact evidence in the arts and humanities but this practice should become more widespread.
Practical implications
– Arts and humanities researchers should be encouraged to think creatively about the kinds of data that they may be able to generate in support of the value of their research and should not rely upon standardised metrics.
Originality/value
– This paper combines practices emerging in the arts and humanities with research evaluation from a scientometric perspective to generate new recommendations
Living Light
No full textScenography is the key topic of the upcoming issue and we are pleased to announce that the scenographer, Simon Donger, is one of our authors. In addition to working as a stage designer, director and curator, he is also an academic member of staff and course leader at the Royal Central School of Speech and Drama at the University of London where he was involved with developing the master programme in scenography. His current projects include two productions for the Bolshoi Theatre in Moscow for which he designed and implemented interactive projections. His article “Lebendiges Licht – Theatre Space” goes into more detail. We asked him in advance about his method of working and his collaboration with the Bolshoi Theatre. In addition, a video clip shows the design work for the ballet, “A Hero of Our Time”, and parts of the performance
Performances of Capitalism, Crises and Resistance: Inside/Outside Europe
No full textThis engaging study examines the issue of crisis in European performance since the collapse of global financial markets in 2008. The book's chapters examine diverse performances of crisis primarily in three cities with a loaded past and present for Europe, as idea and geopolitical reality: London, Athens and Berlin. Presenting a range of work – from the National Theatre's repertoire to alternative forms of theatre-making in 'other' spaces; from the Occupy LSX to cultural performance and 'invisible', quotidian performances – Performances of Capitalism, Crises and Resistance presents new approaches to performance as a form 'in crisis' and as reflecting the in-crisis permutation of the 'inside/outside' dichotomy, fundamental in the conception of Europe and the EU. In doing so, this book makes an argument for performance within and against neoliberal promises; as a monolithic factor implicated in the machinery of capitalism or multiple, emergent bodies of resistance
New Monologues for Women
No full textNew Monologues for Women features forty monologues from plays published by Bloomsbury Methuen Drama recently. The monologues are selected by the editor, Geoffrey Colman, on account of their relevance to drama school students and recent graduates entering the profession.
Each monologue is preceded by an introductory paragraph, written by the editor, outlining the setting, character type, and point in the plot. Suggestions are offered for staging, character interpretation, points of significance in the text, and how to draw from decisions made in professional productions.
This collection is the go-to resource for the auditioning actor with an insatiable appetite for new, original and excellent material. - See more at: http://www.bloomsbury.com/uk/new-monologues-for-women-9781472573513/#sthash.JYWnwgx5.dpu
Thinking Without Authority: Performance Philosophy as the Democracy of Thought
No full textPerformance philosophy commences with an impertinent gesture when it describes itself as inaugurating a ‘new field’ of study. Accompanying that claim is a radical proposition that ‘performance thinks’; that it should be counted as a form of philosophising in its own right. But in what sense can performance be construed as ‘genuinely’ philosophical thought? Taking my cue from Laura Cull’s alignment of performance philosophy with Laruelle’s practice of ‘non philosophy’ – and specifically, with its introduction of ‘democracy’ into the dispositives of ‘standard’ philosophy in order to challenge its transcendental authority over the Real – I argue that performance philosophy might be seen to enact a similar disruption of the ‘dispositives’ of performance theory. This, however, is only partly what is at stake in the fundamental proposition of performance philosophy, and I conclude by suggesting that a more radical proposal lies behind its assertion of a new ‘field’ – one that does not reduce it to an empirical fact, but grasps it as a radical ‘utopian’ hypothesis designed to ‘open up’ the philosophical dimension of performance itself; utopian because what performance offers – seen in this way - is not simply another system of representation but a possible democratic thought of the Real itself
Applied Theatre from a Southern African Perspective
No full textThis is an edited transcript of a conversation between Kat Low and Munyaradzi Chatikobo, (Chati), who is the Funding and Partnership Manager for Drama For Life, an academic and community engagement programme. Kat was interested in Chati's perspective on where applied theatre is located in a South African context. The conversation took place in 2014
Celebrating Success : How Has Participation in Clean Break's Theatre Education Programme Contributed to Individuals' Involvement in Professional or Community Arts Practices?
No full textTheatre and Photography
No full textExamining the relationship between theatre and photography, this book shows how the two intertwine and provide vantage points for understanding each other. Joel Anderson explores the theory and practice of photographing theatre and performance, as well as theatre and photography's mutual preoccupation with posing, staging, framing, and stillness
Move Over, There's Room Enough: Performance Making Diploma: Training for Learning Disabled Adults
No full textIn its second year, the Performance Making Diploma at Royal Central School of Speech and Drama (Central), won the Guardian University Award for Student Diversity and Widening Participation 2015. A one-year, part-time diploma, the first cohort has graduated and many have undertaken their first venture in professional work. This Points and Practice piece is an edited version of an email interview between Sally Mackey and Liselle Terret. Together with Nick Llewellyn from Access All Areas, Liselle created the Diploma
Applied Theatre: Aesthetics
No full textApplied Theatre: Aesthetics re-examines how the idea of 'the aesthetic' is relevant to performance in social settings. The disinterestedness that traditional aesthetics claims as a key characteristic of art makes little sense when making performances with ordinary people, rooted in their lives and communities, and with personal and social change as its aim. Yet practitioners of applied arts know that their work is not reducible to social work, therapy or education. Reconciling the simultaneous autonomy and heteronomy of art is the problem of aesthetics in applied arts.
Gareth White's introductory essay reviews the field, and proposes an interdisciplinary approach that builds on new developments in evolutionary, cognitive and neuro-aesthetics alongside the politics of art. It addresses the complexities of art and the aesthetic as everyday behaviours and responses.
The second part of the book is made up of essays from leading experts and new voices in the practice and theory of applied performance, reflecting on the key problematics of applying performance with non-performers. New and innovative practice is described and interrogated, and fresh thinking is introduced in response to perennial problems. - See more at: http://www.bloomsbury.com/uk/applied-theatre-aesthetics-9781472513557/#sthash.bX5R1Tmy.dpu