Not Signed-In
Which clippings match 'Performance Research' keyword pg.1 of 1
08 JULY 2013

The Media and Performance Laboratory at Utrecht School of the Arts

"The Media and Performance LAB (MAPLAB) is founded by the Research Centre Theatre Making Processes at the Faculty of Theatre, Utrecht School of the Arts. It is initiated and led by Joris Weijdom, head of the research group Virtual Theatre.

The main goal of the MAPLAB is to provide a space for research into the possibilities of interactive technology in a performative context, and to translate this into didactic strategies.

The modular approach to space, tools and diversity of interdisciplinary making processes the MAPLAB provides outstanding conditions to research, design and develop at the intersection of the performing arts, media and interaction."



artistic research • augmented stage • creative making • culture and innovation • design research • didactic strategies • engagement and participationinteraction design researchinteractive digital media • interactive technology • interdisciplinarity • interdisciplinary making processes • Joris Weijdom • MAPLAB • media and interaction • media and performance • Media and Performance LAB • mixed realitymotion-trackingnew media artperformance art • performance lab • performance research • performative context • practice-based research • professional know-how • reactive spaceresearch centreresearch group • technology and interfaces • theatretheatre arts • theatre making • theatre making process • theatre technology • UtrechtUtrecht School of the Arts • virtual theatre • Virtual Theatre (research group)


Simon Perkins
14 APRIL 2012

Practising Theatre History as Research

"Much current scholarship in the field of Elizabethan and Jacobean drama, including my own, focuses on the actual performance of plays in their own or later periods, regarding the texts that survive as, in different ways, blueprints for performance, and exploring them in the context of their performance spaces, actors and theatre–practice and of other agencies such as audiences that impact upon those texts in performance. My own research in these areas is largely conducted through practice.

But let me just sketch a brief background. In 1998, a sea–change occurred in the lives of arts (as opposed to humanities) researchers in the UK, with the creation of the Arts & Humanities Research Board (now Council) which, for the first time, funded practice–led research in the creative arts. I cannot stress too heavily the impact this had on the landscape of research in the performing arts.

That's not to say, of course, that research through practice had not been conducted before then. If I take my own department at Bristol as an example, scholars such as Glynne Wickham, Richard Southern and Neville Denny were experimenting from the early 1950s by staging medieval and early modern plays, and using their findings in their published work.

But the arrival of the AHRB not only provided funding for practice–led research in the academy, but in so doing, confirmed it as being as valid and – not to be underestimated – as respectable as research conducted through more traditional or conventional means. And – a point to which I shall return – it opened up debates not only on how such research might most profitably be conducted, but how it might be disseminated in forms other than the books or journal articles that had predominated – and be disseminated, in fact, through the practice/performance itself."

(Martin White)



1950s1998AHRBAHRCArts and Humanities Research BoardArts and Humanities Research Council • blueprints for performance • Bristolconducting researchcontribution to knowledge • Cornish • Cornish Ordinalia • Cornwallcreative artsdesign researchdesign researcherdissemination through performance • dissemination through practice • early modern period • Elizabethan drama • fourteenth century • funding for practice-led research • Glynne Wickham • history of theatre • Jacobean drama • journal articlesmedieval • medieval mystery plays • model of enquiry • Neville Denny • Ordinalia • Origo Mundi • Passio Christi • passion of Christperformance researchperformance spacesperforming arts • plays • practice as research in performancepractice-led research • practising theatre • publishing and disseminationresearch dissemination • research in the performing arts • research scholarshipresearch through practice • researchers in the UK • Resurrexio Domini • Richard Southern • staging • surviving texts • texts in performance • the academytheatre • theatre audiences • theatre history • theatre practice • theatrical performancetheoretical contextUKvalid scholarship


Simon Perkins
31 MARCH 2010

DAP-Lab: cross-media performance lab

"DAP–Lab is a cross–media lab exploring convergences between performance, telematics, textile/fashion design and movement, clothing and choreography, visual expression, film/photography, and interactive design.

Founded in 2004, the Lab is now housed at Brunel University and continues research partnerships with multiple sites in the USA, Japan, and Brasil which have formed the ADaPT network on performance telematics since 2000. DAP–Lab also connects ongoing research investigations and productions in dance (Digital Cultures) with performance/science collaborations (TransNet), and brings these partnerships into knowledge transfer with performance, multimedia and electronics engineering research at Brunel University's School of Arts and School of Engineering and Design."

(Johannes Birringer)



20002004 • ADaPT network on performance telematics • Brasil • BrazilBrunel University • Brunel University School of Engineering and Design • choreographyclothing • cross-media lab • dance • DAP-Lab • digital culture • electronics engineering research at Brunel University School of Arts • fashion designfilminteractive designJapan • Johannes Birringer • knowledge transfermovementmultimediaperformanceperformance researchphotographyresearchsciencetelematicstextiles • TransNet • UK • visual expression


Simon Perkins
01 APRIL 2007

Images do not embody information about their use

"Most of the knowledge that we have of pre–literate societies comes from the interpretation of archaeological 'works' that have survived. However, key aspects of the argument are speculative. Let me take as an example the cave paintings at Lascaux. Opinion is divided about whether the paintings show a hunting expedition or represent a ritual activity in which image–animals are slaughtered symbolically as an auspicious prelude to the actual hunt. The reason that this important distinction cannot be reliably made is because the images do not embody information about their use, i.e. whether it is depictive or symbolic. This is not a problem confined to objects of great antiquity. For example, there is little material difference between a pair of chop–sticks and a pair of knitting–needles except the cultures in which they are found and the way in which they are used. This is even more apparent if one considers that there is nothing about their physical form that prevents them being exchanged and the one used for the purpose of the other."

(Michael A. R. Biggs, 2003, Practice as Research in Performance)



The Reflective Practitioner: Choreography As Research In An Intercultural Context

"Nevertheless, research which may be vital to the making of a dance work manifests itself differently from conventional research, both in outcomes and intent. Even artists who regard research as central to their practice still tend to view, as their ultimate goal, the artistic product – be it a dance, theatre or musical or hybrid performance, live or via another medium.

Reflective practice, by which I mean artistic practice as research, on the other hand, consciously explores and analyses connections between perception and action, experience and cognition. Although other research can be argued to do likewise, it may be relationships – between the parts and the whole, between form and content, between events and objects, between space and time – which makes artistic practice as research distinctive. Artistic practice as research also involves the presence of researcher/artist and researched/artists in a mutual collaboration and thus its nature is not only relational but emergent, interactive and embodied."

(Cheryl Stock, Queensland University of Technology, Australia)


Mia Thornton

to Folksonomy

Can't access your account?

New to Folksonomy?

Sign-Up or learn more.