research practice explores contemporary and experimental performance as a
framework for affective forms of communication.
This approach conceives of embodied and perceptual experience as a field of
knowledge, offering new methodological ways of orienting and analysing the artistic
event. I am a Fellow of the Higher Education Academy. Recent publications
include ‘”Alive” Performance: Toward an Immersive Activist Philosophy’ (in Performance Philosophy Journal, 2017).
Alongside my academic research, I create performances, as solo and in collaboration. This activity reflects on the ways in which affects, sensations and rhythms animate – or render ‘alive’ – the sites where performance happens, and how to make sense of it all after the fact. The critical and physical forms this work takes focuses on anomalous or altered bodies and their relation to, and impact on, aesthetic, ethical, political and ecological life.
These activities inform my work as an educator on the BA (Hons) Creative and Performing Arts and Drama, and as co-leader of the MA Performance. My training methods focus on how bodies relationally orient themselves to spaces, times, encounters, objects, ideas, histories, futures, and other entities through sensory interplay. I use extended techniques derived from Performance and Live Art strategies and combined art disciplines to test and develop physical embodied consciousness and awareness, via intuition, improvisation and invention.
To date, I have supervised several postgraduate dissertation projects focusing on identity, inter-media performance and theatricality. I would be interested in discussing potential projects exploring contemporary performance-making practices, performance philosophies, queer methodologies, diversity studies, affective politics, and material agencies.