GENERAL EDITOR
Richard Gough is a co-founder and the General Editor of Performance Research, Professor of Music and Performance at University of South Wales, Cardiff, UK, and Artistic Director of the Centre for Performance Research (CPR). He has produced and organized numerous conferences, workshops, festivals and tours of theatre and dance companies across the past thirty-five years and he has directed theatre productions, curated events and lectured in the Americas, Africa, Asia, and Australasia and throughout Europe. His own artistic-led research explores the interface between food, cookery and performance.
ISSUE EDITOR
Annouchka Bayley (SFHEA) is a lecturer at the Faculty of Education, University of Cambridge. Annouchka specializes in new materialism and posthumanism for artistic research and has published several works on this. She is also a practising artist, fiction-writer and emerging director with the Royal Shakespeare Company.
CONTRIBUTORS
Annette Arlander, DA, artist, researcher and pedagogue, is currently a visiting researcher at the Academy of Fine Arts, the University of the Arts Helsinki, and recently Professor in Performance, Art and Theory at Stockholm University of the Arts. For artworks and publications, see https://annettearlander.com
Bartaku is an artist researcher who practises the art of enquiry with experimentations into light, energy and bodies. His main interests lie in biology, consciousness studies, energy and philosophy. The practice is often process-based, collaborative, intermedial, following ways of play and situated in the folds and cracks of formal classifications. It materializes in interventions, exhibitions, talks/lectures and labs. Most renowned are the temporary Photoelectric Digestopians, a series of live labs featuring digestible solar cells and human tongues.
Taylor C. Black is a PhD candidate in performance studies at New York University, whose scholarly research examines acts of lying on social media. Taylor consults, works and teaches at the intersections of ethics, critical digital studies and performance.
Amy Chan is a lighting and theatre artist, with artistic interests in exploring musicality, theatricality and performativity of light in theatre and installation, and light in postdramatic theatre. Her research has been presented at international conferences and published in peer- reviewed journals. More information on her works can be found at www.amychan-light.com
JJ Chan is an artist working across and amid sculpture, moving image and writing. Their work draws from lived experience and stories stolen from eavesdropped conversations to explore the edges of our realities in constructing identity. They are currently Senior Lecturer in Fine Art at Kingston School of Art, London.
Rosemary (Rosa) Cisneros is a researcher, dancer, sociologist, curator and filmmaker at Coventry University’s Centre for Dance Research. She works closely with the European Roma Institute for Arts and Culture (ERIAC), NGOs in the UK and Europe, the RomArchive as well as UK-based dance companies. Cisneros has led various EU-funded projects that aim to make education and arts accessible to vulnerable groups and ethnic minorities. Her other interdisciplinary projects focus on the intersection of cultural heritage, dance, site and digital technologies.
Eleanor Dare is the Head of the Programme for MA Digital Direction, a fifteen-month Master’s course at the Royal College of Art, School of Communication, London. Eleanor is also Reader in Digital Media. Eleanor has an MSc and PhD from Goldsmiths’ Department of Computing, London, and has taught computing-related subjects for the last twelve years.
Daniela Perazzo Domm is Senior Lecturer in Dance at Kingston University, London. Her research interrogates the intersections of the aesthetic and the political in contemporary choreography. Her publications include articles in Performance Philosophy, Dance Research Journal, Choreographic Practices and Contemporary Theatre Review. Her monograph Jonathan Burrows: Towards a minor dance was published by Palgrave Macmillan in 2019.
Douglas Eacho is Assistant Professor of Drama at the University of Toronto, and Assistant Director, Academic of the BMO Lab for Performance and Emerging Technologies. His current research traces the history of attempts to automate performance production from surrealism to digital light control and computational writing.
Natalia Esling is an SSHRC Postdoctoral Fellow in the Department of Theatre & Film at the University of British Columbia. Her work focuses on artistic research, one-to- one performance, and empirical audience research. She serves on the PSi Future Advisory Board and on the Canadian Association for Theatre Research board of directors.
Laura Hartnell is a PhD candidate at Monash University, Australia. Her doctoral research investigates the intersections between gender, trauma and performative writing, and her research focuses broadly on writing and performance as a force for political, social and cultural resistance and transformation.
Maximilian Hauptmann studied philosophy and comparative literature at the University of Vienna. He is currently writing his Master’s thesis about the reception of Plato’s dialogues as theatrical plays. In the performance series Microbial Keywording, he works on the interface of philosophy as performance and artistic experiment.
Kyoko Iwaki is a lecturer in theatre and performance studies at the University of Antwerp. Her research focuses on radical contemporary Japanese and European theatres mainly of non-human philosophies, including animal studies, race and Asian postcolonialism, digital and physical ghosts, ahuman temporality and spirituality with a strong investment in Buddhism.
Anna Jayne Kimmel is a PhD candidate in theatre and performance studies at Stanford University, with an AB from Princeton University. Her writing appears in Performance Research, with reviews in TDR and Dance Research Journal. She serves on the Future Advisory Board to Performance Studies international, and as the reviews editor of Performance Research.
Kate Lawrence has lectured at Bangor and Surrey universities in the UK and is Artistic Director of Vertical Dance Kate Lawrence, where she fuses rock climbing with dance. She has taught and presented her choreography internationally. Kate has written articles about site-specific performance and vertical dance. She is currently researching creative audio description for performance. www.verticaldancekatelawrence.com.
Jon Lee trained in theatre directing at Rose Bruford College, London, before completing an MA in the Body in Performance at Trinity Laban, London. He began lecturing at the Royal Conservatoire of Scotland, Glasgow and the Drama Centre at Central St Martin’s, London, before joining London South Bank University’s Drama Department as a visiting lecturer in 2009. He became a senior lecturer in 2012. Jon’s practice centres on Dirty Market, the theatre company he co-founded in 2011.
Sarah Lucie earned her PhD in theatre and performance at the Graduate Center, CUNY. Her research approaches contemporary performance through new materialism, ecocritical theory and posthumanism. Sarah’s writing appears in The Routledge Companion to Theatre and Politics (2019) and Machine Made Silence (2020), as well as in Theatre Journal, and PAJ.
John MacCallum is an interdisciplinary artist/scholar working at the intersection of music composition, technology and performance philosophy. John did his PhD at UC Berkeley, his MM at McGill University in Montreal and his BM at the University of the Pacific in California. He presently lives in Berlin, and works at the Hochschule für Musik und Theater Hamburg. http://john-maccallum.com.
Diana Damian Martin is a writer and academic working at the intersection between writing, politics and performance. She is Senior Lecturer in Performance Arts at the Royal Central School of Speech and Drama, London. Editor of (States of) Wake: Dedicating performance (2018), co-editor of Critical Interruptions Vol 1: Steakhouse LIVE (2018) and Critics in Conversation (2018) and editor of the [Margins] section of Performance Philosophy Journal. She is part of Performance Studies international’s Future Advisory Board and co-convenes the working group Documenting Performance for the Theatre and Performance Research Association.
Jess McCormack is Lecturer in Dance, at Bath Spa University, specializing in physical theatres, verbatim theatre and site-based performance. Her current research focuses on applied and collaborative performance practices. Her book Choreography & Verbatim Theatre: Dancing words (2018) asks how spoken words might be translated into dance and is the first major publication to focus on choreography and verbatim theatre.
Teoma Naccarato is an interdisciplinary artist/scholar working at the intersection of choreography, technology and performance philosophy. Teoma holds a PhD from the Centre for Dance Research at Coventry University, an MFA in Dance and Technology from Ohio State University and a BFA in Dance from Concordia University, Montreal (2004). She presently lives in Berlin. https://teomanaccarato.com.
E L Putnam is Lecturer in Digital Media at National University Ireland Galway, where she is director of the MA in Digital Media. She is an artist-philosopher working in performance art and digital technologies. Her forthcoming book Strange Mothers: The maternal, digital subjectivity, and the aesthetics of interruption is being published with Bloomsbury.
Per Roar is a choreographer-researcher merging a socio- political interest and contextual enquiries with a somatic approach to movement, as demonstrated in his doctoral project ‘Docudancing Griefscapes’ (2015), the University of the Arts Helsinki. He is a professor and Head of the MA Programme in Choreography at Oslo National Academy of the Arts.
Azadeh Sharifi is a researcher at the Theatre Department of the University of Munich. She currently holds the Eva & Victor Klemperer Fellowship at the Technical University Dresden. She is a member of the Future Advisory Board, Board Member (Development Officer) of Performance Studies international and co-editor of Interventions – Contemporary Theatre Review.
Klaus Spiess directs the Arts, Science and Biomedia Programme at the Medical University of Vienna, where he is associate professor. He has developed transdisciplinary performances and installations on the subject of biopolitics, performing and exhibiting internationally (i.a. at International Society of Electronic Arts (ISEA); Muffatwerk, Munich; Haus der Kulturen der Welt in Berlin and at the Prix Ars Electronica). He has published on the subject of his work in Leonardo, Performance Research and The Lancet.
Christina Stadlbauer intertwines art and research through her process-based and trans-disciplinary work. She obtained a PhD in chemistry and has been inspired by themes around other-than-human life forms, including collective intelligence, interspecies communication and the relation between culture and nature. She has launched several long-term initiatives, including Melliferopolis: Bees in urban environments and the Institute for Relocation of Biodiversity – an artistic platform to explore the human position towards loss of habitat and biodiversity collapse.
Lucie Strecker, a Vienna- and Berlin-based artist, performer and researcher, works across various media, exploring experimental systems in art and science. Performing and exhibiting internationally, she is a fellow of the Berlin University of the Arts and holds a senior postdoc position at the Art & Science Department and the Performance Laboratory of the University of Applied Arts Vienna.
Beck Tadman is a queer crip social scientist and cultural producer. She is an associate lecturer in applied critical theory at the Royal College of Art in London and an interdisciplinary technē funded PhD candidate at the University of Roehampton, working at the intersection of social science and visual/performance art. She is chair of the Board of Trustees for Raze Collective, a charity that supports queer performers and queer performance venues across the UK and a fellow of the Royal Society of Arts with expertise in equality, diversity, accessibility and inclusion.
Asher Warren is a lecturer in theatre at the University of Tasmania. His research explores intermedial, networked, participatory and collaborative practices, and the sites of contemporary artistic practice. He is a member of Performance Studies international, the International Federation for Theatre Research intermediality working group, and currently sits on the PSi Future Advisory Board.
Joanne ‘Bob’ Whalley is a lecturer in dance at the University of Roehampton, where she teaches postgraduate dance and choreography students. She makes performances, installations, performance texts and objects for international audiences. In 2015 she completed a BSc in acupuncture and she specializes in infertility and palliative care. Her book written with Lee Miller, Between Us: Audiences, affect and the in-between, published in 2017 by Palgrave Macmillan, celebrates spaces that cause an affecting and bodies affected.