• A motivation to move: Juxtaposing the embodied practices of Pina Bausch and Ingemar Lindh

      Bugeja, Nicola; University of Chester (Routledge, 2015-03-26)
      In their summer newsletter of 1996, the Centre for Performance Research (CPR) announced a workshop retreat to be led by Swedish theatre practitioner Ingemar Lindh at Druidstone in West Wales. The workshop, which was supposed to run in July of 1997, did not happen due to Lindh’s untimely death in Malta a few days before. The announcement described Lindh’s work as ‘oscillating between sensuality, even eroticism, on the one hand, and a kind of choreography of everyday life, similar sometimes to the work of Pina Bausch, on the other’ (CPR 1996, p. 9). Taking the CPR comparison as its cue, this article investigates an overlapping concern between the tanztheater practice of Bausch and the laboratory theatre work of Lindh: that whether called ‘movement’ or ‘action’, a performer’s work needs to be motivated by one’s personal input (memories, thoughts, images, and other mental processes) rather than executed as an estranged and dictated vocabulary of movement. This premise was largely a result of two major influential figures in Bausch’s and Lindh’s careers: Rudolph von Laban and Étienne Decroux. The article starts with a concise contextualisation of a reaction to rigid methodology in both tanztheater and laboratory theatre, i.e. Bausch’s and Lindh’s backgrounds respectively. It then juxtaposes Laban’s and Decroux’s reflections on embodied practice, leading the way to a discussion of the matter in the practices of Bausch and Lindh. To achieve broader understanding, the juxtaposition is supported by a close reading of Rick Kemp’s (2012) and Erika Fischer-Lichte’s (2008) accounts of ‘embodied mind’.
    • A Symphony of Sound: Surround Sound in Formula One Racing Games

      Dockwray, Ruth; Collins, Karen; University of Chester; University of Waterloo (Bloomsbury, 2015-01-29)
      The chapter explores the role of sound on Formula One gaming experience, with particular reference to cine-realism and aspects of sound design.
    • Before and After Eno: Situating ‘The Recording Studio as Compositional Tool

      Albiez, Sean; Dockwray, Ruth; Southampton Solent University; University of Chester (Bloomsbury, 2016-08-11)
      This chapter discusses Eno's work and lecture - Studio as a Compositional Tool. As previous studies have identified the importance of John Cage and post-Cageian experimental music for Eno, this study extends the flows of influence and counter-influence back to the second decade of the twentieth century, and situates Eno's Studio as a Compositional Tool lecture in the long history of twentieth century avant-garde and modernist debates concerning the future of music and the potential recording technologies afford. Therefore, the fundamental purpose of this study is to contextualise and situate the lecture in a way that has not been attempted previously. This will allow a broader understanding of ‘The Recording Studio as Compositional Tool’ as a dialogic, heteroglossic text that is in conversation with and channels the voices of others who, in the previous seven decades, had already considered and formulated responses to issues that Eno addressed at the end of the 1970s.
    • Borders of knowledge: A reflection on a collaborative international drama project

      Layton, James R.; Loudon, Jane; University of Chester (2014-10-24)
      Iris Marion Young (1990) believes that the ideal of community “seeks to resist the individualism and alienation that is pervasive in late capitalist societies by bringing people together”. Illustrated by an ongoing collaborative drama project between the UK and Romania, this paper seeks to explore the way in which access to knowledge associated with a late capitalist UK and those of the emerging capitalism of Romania informs creative partnerships. Using a case study of 2014 field research in Romania involving UK Drama & Theatre Studies undergraduates, this paper offers a multi-voiced reflection on how we learn from other communities and build sustainable and balanced relationships in an ever-expanding European community.
    • Change and the Meaning of Art

      Owens, Allan; Petäjäjärvi, Krista; University of Chester, UK; Centre for the Promotion of Artists /Taiteen edistämiskeskus, Finland (Taiteen edistämiskeskus (Centre for the Promotion of Artists), Helsinki, Finland, 2018-10-19)
      In Williams’ (1961) theory of the long revolutions – democratic, industrial and cultural – in which our societies have been embedded for generations, he argues that the very large scale of the changes and the many generations affected over time make it difficult to have any adequate perspective on the scale, depth and complexity of the changes that we nonetheless experience. (Adams and Owens, 2016). These long term social changes and conflicts are inevitably manifest in short term, contingent and local ways: ways of thinking and practising are continually changing and in so doing mirror or amplify the deeper currents of social change. Applied drama and theatre practice with all its specificities and cultural nuances, its implication of agency and collaboration, is a medium through which these deeper currents can be touched. The forms that such interactions and collaborations take can provide a lens on what change through art might mean.
    • Chorale Prelude: Lord for the Years for Solo Organ

      Sproston, Darren; University of Chester (Darren Sproston, 2015-03-01)
      Commissioned by the University of Chester for its 175th Founders’ Day Service. First performed at Chester Cathedral, March 2015 by Graham Eccles.
    • Co-creating, co-producing and connecting: Museum practice today.

      Barnes, Pamela; McPherson, Gayle; University of Chester; University of the West of Scotland (Wiley, 2019-04-25)
      We argue in this paper that museums have become hybrid spaces, where consumers look and challenge what they see; they form part of what they see; with some aspects of exhibitions now co‐created and co‐produced by the consumer (Kershaw et al. 2018; Solis 2012). This paper draws on an example from a group that we worked with using performance as a tool to engage a ‘hard to reach’ or ‘socially excluded’ groups. We conclude that by allowing audiences to co‐create and co‐produce exhibitions and performance; this can turn the museum rhetoric of community engagement into practice and create a space that is truly inclusive for the communities it serves. We demonstrate how the possibility of seeing museums as hybrid spaces, which can adapt, can be used for education and entertainment, and how that has in turn led to the transformation of people's lives in a previously socially excluded community.
    • Collaborative Practice: some thoughts

      Jamieson, Evelyn (The Higher Education Academcy: Palatine, Dance, Drama and Music, 2011)
      A snapshot paper concerning values, approaches and modes of practice in higher education performing arts. This paper is contained in the 2011 report, Collaborative Arts Practices in HE: Mapping and Developing Pedgagogical Models by Christophe Alix, Elizabeth Dobson, Robert Wilsmore.
    • Creativity and Democracy in Education: Practices and politics of learning through the arts

      Adams, Jeff; Owens, Allan; University of Chester (Routledge, 2015-07-16)
      With particular reference to the practices and politics of learning through the arts this book (Research Monograph) forms part of the Routledge Research in Education Policy and Politics series aims to enhance our understanding of key challenges and facilitate on-going academic debate within the influential and growing field of Education Policy and Politics.
    • Critical Reflection and the arts as third spaces

      Lehikoinen, Kai; Passila, A.; Owens, Allan; University of Arts Helsinki, Lapeenranta University of Technology, university of Chester (2015-04-08)
      The paper discusses critical reflection in the context of the arts as Third Space (TS). It scrutinises TS as an artistically co-created conceptual, physical and egalitarian site for transdisciplinary dialogue and informal learning and also a means to advance the democracy of learning – especially critical reflection. The focus is on theatre-pedagogic ways to set up participatory performative learning arrangements as TS. The analysis addresses examples drawn from an arts-based learning practice called Learning Jam (LJ) that was organized in Copenhagen Business School in August 2014. In the transdisciplinary event, approximately forty artists, researchers, art-educators, managers and arts-based consultants used an artistic inquiry process to explore the topic of transformation. Organised as a jam in the sense of jazz music, the LJ encouraged the participants to improvise collectively in order to move beyond the known and co-create new knowledge through practice in collaboration between practitioners and academics
    • Culture, Politics and Drama Education: The Creative Agenda 1997-2015

      Piasecka, Shelley; University of Chester (National Drama Publications, 2016-05-07)
      In the years following New Labour’s election victory (1997) the creative agenda was a visible concern for schools and teachers. A number of influential documents and policy documents were launched to promote creativity in schools. New funding opportunities had been made available to support teachers and classroom learning, most notably the Arts Council initiative Creative Partnerships (2002). Buckingham and Jones (2001) describe the period as the “Cultural Turn” towards the creative and cultural industries. Paradoxically, the creative agenda emerged at a time when teachers experienced unprecedented levels of control over, and public scrutiny of, their everyday working lives; it was a period of time dominated by a ‘bureaucratisation” of education. For Stronach et al. (2002) it was a rise of a performativity discourse in response to the audit culture. Post 2010, the introduction of school performance measures, such as the compulsory English Baccalaureate (2015), offers another kind of performativity discourse, but from a perspective other than creativity. The long-term outlook for creative subjects appears bleak, particularly for dance and drama. This article examines the period 1997-2015 with reference to Neelands and Choe’s (2010) assertion that creativity is a cultural and political idea.
    • Dance bands in Chester (1930 - 1970) : An evolving professional network

      Southall, Helen; University of Chester (2011-09)
      Headings are: the city of Chester; a hidden history; jazz places; economic places; social networks; methodology and findings.
    • Decisions

      Owens, Allan (Chester College, 1996)
      This article discusses decisions - a process drama created to explore the concept of ethical decision making - which ran in October 1996 as part of the Decade of Evangelism mission run by the Chester and Wakefield dioceses. The project focused on the sharing of faith (in particular Christian beliefs relating to forgiveness), taking real risks, and changing attitudes.
    • Dissolving into Scotland: National Identity in Dunsinane and The Strange Undoing of Prudencia Hart.

      Pattie, David; University of Chester (Taylor and Francis, 2016-03-03)
      Journal article
    • Diving Into the Wild: Ecologies of Performance in Devon and Cornwall

      Sarco-Thomas, Malaika; Falmouth University (Routledge, 2015-03-31)
      This chapter explores different examples of site-based dance performance in Devon and Cornwall, analysing them for the different ways they invite audiences and performers to engage with nature. The essay maps a continuum for engaging with the outdoors via a table that categorises different sited dance activities and performances from 2001-2014, drawing on findings of reports which identify the health benefits of engaging with green spaces. Works are analysed for their ways of encouraging viewing nature, incidental involvement, and purposeful, somatic involvement with the outdoors. The chapter argues that such performance initiatives offer conceptual and social frameworks for outdoor experiences that provide individuals with health-giving benefits whilst simultaneously proposing ways to think differently about our relationships to wild places.
    • Drama and the global dimension

      Owens, Allan; University of Chester (Trenthan Books, 2009)
      This book chapter discusses drama activities that a primary school could use to inform pupils of the global dimension of drama.
    • Dramworks: Planning drama, creating practical structures, developing drama pretexts

      Owens, Allan; Barber, Keith; University College Chester ; Victoria Community High School, Crewe (Carel Press, 1997)
      This book focuses on planning drama, creating practical structures and developing drama pretexts. Methods of reflecting on and evaluating the work are built into the pretexts.
    • Drive, Speed and Narrative in the Soundscapes of Racing Games

      Collins, Karen; Dockwray, Ruth; University of Waterloo; University of Chester (Routledge, 2017-06-01)
      This chapter argues that racing games are situated in a space between reality and fantasy: a cinematic realism, or “cine-real". At the heart of the auditory cine-realism is a use of sound and music to both fill a gap left by the lack of sensory information presented to the player, and as part of a narrative device. The authors also argue that the narrative use of music and sound in racing games is one of the key features that distinguishes racing games from straight simulations.
    • Echo of dreams

      Owens, Allan; Green, Naomi; University of Chester, NEC Katayanagi Institute (2015-04)
      The Echo of Dreams Pre-text allows for consideration of sudden changes in life, the unpredictable , unforeseen and unknowable to create a space for the exchange of such understandings and to allow for a celebration of the human spirit in the face of loss
    • Emanuel Azenberg’s Life in Theatre: ‘Happiness Is Equilibrium. Shift Your Weight’

      Ellis, Sarah T.; University of Chester (Palgrave Macmillan, 2017-05-03)
      Working first for David Merrick and then Alexander Cohen, Emanuel Azenberg (b. 1934) has persevered into the twenty-first century as one of the last independent producers. He has also brought his practical experience into the classroom as a visiting professor at Duke University.