Current and Completed Projects
Current Projects
|
Name |
Project Title |
Funding |
Supervisor(s) |
|
Barnes, Sarah |
The Edge of Music: Exploring the boundaries of sound, space and the body in twenty-first century classical music performance |
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Bond, Imogen |
What is the function of the theatre curtain call for British audiences, and how does it relate to changing ideas of theatre patronage? |
|
Aoife Monks |
|
Bower, Julie Rose |
This is What a Feminist Sounds Like: Performed Sound Design from Foley to ASMR |
|
Martin Welton |
|
Cermak, Andrej Samuel |
Slovak and Czech Performance Art from the 1960s to 1989 |
AHRC |
Dominic Johnson |
|
Disman, Adriana |
Pathologising Performance: Self-Harm, Performance Art, and Personhood |
QMUL |
Dominic Johnson and Martin O’Brien |
|
Evans, David |
Autobiographic Performances of Madness. How Autobiographic Performances Can Decolonise, Devictimize, and Destigmatise Mental Illness?
|
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Bridget Escolme |
|
Freedman, Lucy |
Criminalisation as Casting: Eroticism and the Theatricalisation of Bourgeois Subjectivity |
QMUL |
Nicholas Ridout |
|
Gardini, Genna |
MS Independent: Writing Womanhood and Multiple Sclerosis |
|
Aoife Monks |
|
Hadjiandreou, Alkiviades |
Emanuele Balzani: Epistemological shifts in representing artistic practices |
|
Dominic Johnson |
|
Harper, Sarah |
Inclusion, exclusion and self-censorship : the politics and aesthetics of identity and belonging in applied performance projects in suburbs of Paris and London |
QMUL |
Caoimhe McAvinchey |
|
Hubbard, Wendy |
Reading Collaboration: Labour, Community and the Politics of Authorship in Contemporary Theatre |
AHRC |
|
|
Jenkins, CJ |
|
AHRC |
Jen Harvie and Caoimhe McAvinchey |
|
Kijaniza, Tatjana |
WT: Empty Actions – Unoccupied Centers. Eastern European Underground Performance Art in the Late Socialist Period |
QMUL |
Dominic Johnson and Shane Boyle |
|
Lamden, Gill |
How the Dead Do Speak: Contemporary Productions of Early Modern Plays with Ghosts |
|
Bridge Escolme |
|
MacKenzie, Danielle |
|
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Maggie Inchley and Mary Richardson
|
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Miná, Deborah |
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Bridget Escolme |
|
Naish, Carolyn |
The Performance of Age, Ageing, Decline and Invisibility, Currently Represented in the Work of Women and LGBT Live Artists, 2010-2023 |
QMUL |
Dominic Johnson |
|
Park, Haeri |
A Diagnosis of Capitalism in Caryl Churchill's Dramas since the 1990s |
|
Jen Harvie |
|
Pérez Rothstein, Pedro Andrés |
Dramaturgies of Urban Mental Health: experiences from theatres in Barcelona, London and São Paulo. |
Fundación "la Caixa" (Spain) |
Paul Heritage and Bridget Escolme |
|
Poster-Su, Tobi |
|
AHRC |
Swati Arora and Martin O’Brien |
|
Schaaf, Olivia |
Inside the Outsider: German Independent Music Theatre at the Neuköllner Oper Berlin |
AHRC |
Shane Boyle |
|
Schulte, Hanife |
Another Performance: The Theatre of Differences |
|
Nicholas Ridout |
|
Signorelli, Micaela |
Contemporary Performance Art in Post Dictatorial Chile |
|
Dominic Johnson and Mara Polgovsky Ezcurra |
|
Silva de Jesus, Thiago |
|
AHRC |
Paul Heritage |
|
Turner, Alicia |
|
|
Martin Welton |
|
Simari, Alessanro |
Shakespeare's Globes: A History of Shakespearean Theatres from Globe to Globe |
QMUL |
Bridget Escolme |
|
Stuart, Isabel |
Valuing Emotion in Contemporary Feminist Performance |
AHRC |
Jen Harvie |
|
Tomlin, Karen |
The Black Female Masculine: The Conundrum of the Black Female Theatre Director |
|
Nicholas Ridout |
|
Vassiliades, Lorna |
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Bridget Escolme |
|
Vollenweider, Chloë |
|
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Aoife Monks |
|
Weller, Jeremy |
Doubting Thomas: Redemption, Rehabilitation and Self-Documentation in a Contemporary Performance Trilogy |
|
Bridget Escolme |
|
Welton, Emma |
|
AHRC |
Jen Harvie |
Completed Projects
|
Name |
Project Title |
Year of Award |
Funding |
Supervisor(s) |
|
Afri-Queer Theatre: Challenging Homophobia, Re/presenting Black Lesbians and Creating Performance Spaces for Black Queer Togetherness |
|
QMUL |
Silverstone, Catherine |
|
|
Allwood, Charlie |
The Gran Teatre del Liceu and Catalan Culture: History, Representation and Myth |
2013 |
AHRC |
Delgado, Maria |
|
Theatre and Performance Photography: Documentation and the "Unlive" |
2008 |
AHRC |
Delgado, Maria |
|
|
Training UK Cultural Warriors: Youth Leadership Through the Arts |
2015 |
AHRC |
Caoimhe MvAvinchey and Paul Heritage |
|
|
Art Works: Participatory Practice and (Anti)Work Politics |
|
QMUL/CTR |
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Post 1990s Dance Theatre and (the Idea of) the Neutral |
2011 |
London |
Delgado, Maria |
|
|
Bell, Charlotte |
Social Housing Performed: Community arts interventions in East London |
2015 |
QMUL |
Michael McKinnie |
|
Just Joking: Speech, Performance and Ethics |
2017 |
|
Nicholas Ridout |
|
|
Birksted-Breen, Noah |
Alternative Voices in an Acquiescent Society: The New Wave of Russian Playwrights |
2017 |
AHRC CDA |
Delgado, Maria, and Andreas Schönle |
|
Borsuk, Amy |
Wanting to be Radical: Contemporary ‘Radical’ Shakespeare Theatre Practice |
|
|
Bridget Escolme |
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Beyond the Playwright: The Creative Process of Els Joglars & Teatro de la Abadia |
2009 |
|
Delgado, Maria |
|
|
Plays in Translation on the London Stage: Visibility, Celebrity, Agency and Collaboration |
2012 |
|
Delgado, Maria and Hermans, Theo |
|
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South African Dance Theatre: The Body as a Site of Struggle |
2009 |
AHRC |
Jen Harvie |
|
|
The Aesthetics of the Wagnerian Gesamtkunstwerk from Appia to Postdramatic Theatre |
2012 |
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Hating Discipline: The Polymath and the Academy |
2017 |
QMUL |
||
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Performing Cultural Identities in California: High Performance and the Performance of Paul McCarthy |
2014 |
QMUL |
||
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Diestro-Dópido, Mar |
Film Festivals: Cinema and Cultural Exchange |
2015 |
AHRC |
Delgado, Maria |
|
Livegraphy Performance Art, Language and the Multiplicity of Sense |
2010 |
AHRC |
Nicholas Ridout |
|
|
False Alarms and Fake Excursions: Translating Virgilio Piñero for Performance |
2011 |
AHRC |
Delgado, Maria |
|
|
Edkins, Timothy |
Feeling Productive |
2013 |
AHRC |
Michael McKinnie |
|
Past and Present Plays: New Work at the Royal Shakespeare Company and Shakespeare’s Globe |
2016 |
QMUL |
||
|
Gomme, Rachel |
'Being Here Now': Presence, Present, Presentness in a Live Art Practice |
|
AHRC |
|
|
Graziano, Valeria |
Formats of Conviviality: The Organisation of Collective Agency in a Time of Impasse |
2015 |
QMUL |
|
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Seriousness, Structure and the Dramaturgy of Social Life |
2012 |
QMUL |
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Gush, Helen |
The World Theatre Season: Internationalisation and British performance culture |
|
AHRC CDA |
Caoimhe McAvinchey |
|
Hamadah, Faisal |
Between the Social and the Political: The History of Kuwaiti Theatre |
|
QMUL |
Nicholas Ridout |
|
Global Art in an Age of Global Performance: Complicity and Critique |
2013 |
AHRC |
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Chronographies: Performance, Death and the Writing of Time |
2005 |
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Memory and Contemporary Performance: Remembering is the New Live |
2015 |
QMUL |
|
|
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The Agency of the Displayed Female Body: The Political Potential of Negative Affects in Contemporary Feminism and Performance |
2016 |
QMUL |
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Stretching Ourselves: The Phenomenology of Sound and Listening in Contemporary Theatre |
2013 |
QMUL |
||
|
Hunka, Emily |
Poor Players: the role of theatre troupe artistry in treating adolescent mental distress |
|
|
Caoimhe McAvinchey and Nasir Warfa |
|
Jones, Bret |
A Question of Taste: Theatrical and Cultural Continuity in Seventeenth Century England |
|
AHRC |
Bridget Escolme |
|
Repeat Repeat: Returns of Performance |
2010 |
|
Dominic Johnson and Nicholas Ridout |
|
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Appropriating Greek Tragedy: Community, Democracy and other Mythologies |
2010 |
AHRC |
Delgado, Maria |
|
|
Leighton-Kelly, Sophie |
The Barbican: Performance, the City and Transnationalism |
2014 |
AHRC |
Michael McKInnie |
|
I Know Something You Don’t Know: Contemporary Performance and the Politics of Expertise |
2013 |
QMUL and ORSAS |
Nicholas Ridout |
|
|
Livergant, Elyssa |
Workshop: The Dramaturgy of Theatrical Labour |
2014 |
University of London |
Maria Delgado and Aoife Monks |
|
Playing the Cancer Card: Illness, Performance and Spectatorship |
2012 |
QMUL and Wellcome Trust |
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'“Nowhere in the World is it Safe to be Black": Performance Art, Enfleshment and Black Subjectivity' |
2021 |
QMUL |
Dominic Johnson and Mojisola Adebayo
|
|
|
Performance Art, Liturgy and the Performance of Belief |
2012 |
AHRC |
Nicholas Ridout |
|
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Challenging Liberal Conceptions of the Theatrical Sphere in London, 2009-2015 |
2017 |
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|
Manninen, Saini |
Duration Materialised: Investigating Contemporary Performance as a Temporal Medium |
2014 |
AHRC |
Dominic Johnson and Nicholas Ridout |
|
Re-defining Urban Space Through Performance |
2013 |
|
Jen Harvie |
|
|
Massie, Eleanor |
Amateurs and Professionals: A Circum-Atlantic Genealogy of Performer Identity |
2017 |
|
|
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The Constitution of Transgender Masculinities through Performance: A Study of Theatre and the Everyday |
2009 |
|
Lois Weaver and Caoime McAvinchey |
|
|
Work, Emotion and the American Method |
2009 |
QMUL |
||
|
Mullan, Sarah |
Lesbian Performance in London 1995-2015: Identity, Representation and Queer Epistemologies |
2017 |
|
|
|
Nicholson-Sanz, Michelle |
On Ports and Stages: Destabilising Cultural Identities through a Lingua Franca Theatre in Latin America |
|
QMUL |
Delgado, Maria |
|
Oliver, Daniel |
The Social Turn: Engagement and Efficacy in Contemporary Performance |
2016 |
QMUL |
Dominic Johnson and Jen Harvie |
|
Performing "Risk": Neoliberalization and Contemporary Performance |
2010 |
AHRC |
||
|
Oxley, Rachel |
Taking Turns: The Structuring of ‘Togetherness’ |
|
QMUL |
Martin Welton |
|
Historia de la Dirección Escénica en España: José Luis Alonso |
2010 |
|
Delgado, Maria and Huerta Calvo, Javier |
|
|
Evaluating Performance/Re-evaluating Process: An Investigation into and Reassessment of Robert Lepage's Devised Theatre Practice |
2010 |
|
Jen Harvie |
|
|
Third Area: A Feminist Reading of Performance at London’s Institute of Contemporary Arts in the 1970s |
2016 |
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The Politics of Theatricality: Community and Representation in Contemporary Art and Performance |
2011 |
AHRC |
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The Possibilities and Limitations of using Drama to Facilitate a Sense of Belonging for Refugees, Asylum Seekers and Migrants in East London |
2013 |
|
Caoimhe McAvinchey |
|
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Attention-Seeking Activities: Stunt Performances in Public Life |
|
AHRC |
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Performance, Kinship and Archives: Queering Acts of Mourning in the Aftermath of Argentina's 1976-1983 Dictatorship |
2012 |
ORSAS and QMUL |
Delgado, Maria and |
|
|
Festival Cities: Edinburgh and Adelaide |
2015 |
QMUL |
Jen Harvie |
|
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The Theatre of Death: The Uncanny in Mimesis |
2013 |
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|
Twite, Christine |
Cultures of Spectatorship: The Relationship between Dramaturgy, Site, Outreach and Audience in the work of Actors' Touring Company |
|
AHRC |
Maria Delgado |
|
Vranou, Sofia |
Modern Art on Legs: Leigh Bowery’s Live Art and Performative Costuming |
2022 |
|
Dominic Johnson |
|
Walsh, Helena |
Live Art and Femininity in Post-Conflict Ireland: Between Negation and Reproduction, Rebellion and Conformity |
2014 |
AHRC |
Dominic Johnson and McAvinchey, Caoimhe |
|
Watkinson, Philip |
Making Space for Affect: Affective Materialism and Contemporary Performance |
|
AHRC |
Michael McKinnie |
|
Walters, Ben |
Duckie in the Community: Performance, Audience and Social Engagement |
AHRC Collaborative Doctoral Award with Duckie |
|
Catherine Silverstone and Simon Casson (Duckie) |
|
Wiskowski, Andrew |
Moods, Modes, and Modality: Presence and its Derivatives in Choral and Collective Performance |
|
|
Martin Welton |
|
Flinching: Self-Experimentation and Theatricality, 1872 - 1918 |
2011 |
AHRC |
Nicholas Ridout |
|
|
Kurt Weill: The "Composer as Dramatist" in American Musical Theatre Production |
2010 |
|
Nicholas Ridout |
|
|
Performing Medicine |
2011 |
|
Paul Heritage |
|
|
Wilson, Anna |
Argentine Theatre in Twenty-first Century Barcelona: Cultural Exchange and (Trans)national Identities |
2014 |
AHRC |
Delgado, Maria |
|
Woods, Penelope |
Globe Audiences: Spectatorship and Reconstruction at Shakespeare's Globe |
2011 |
AHRC |
Bridget Escolme |
|
Wozniak, Jan |
Emancipating Shakespeare?: Jacques Ranciere and the Politics of Performing Shakespeare for Young People |
2014 |
QMUL |
|
|
Young, Martin |
The Discipline in the British Theatre Industry 1550-2015 |
|
QMUL |
Nicholas Ridout and Aoife Monks |
|
Young, Charlotte |
Interpreting Performance Practices: Signification and Political Efficacy in Performance Scholarship |
|
QMUL |
Nicholas Ridout and Shane Boyle |
|
Zechner, Manuela |
The World we Desire is one we can Create and Care for Together |
2014 |
QMUL |
Maria Delgado and Bove, Arianna (School of Business and Management) |