Reclaiming the shrew: Beacon for Wales final project evaluation

FInal Project reoprt for The Beacon\u27s For Engagement Funded performance project entitled: Reclimaing the Shrew; a partnerhship between Beacon for Engagement, Wales, University of Glamorgan and Valleyskids aimed to engage and retain young people at risk in creatiing a personally meaningful art project for their communities. The research drew on Csikzemmyhaliyi\u27s work that promotes effortful physical activity to induce flow in adolescents couple with devising and phsyical theatre practice that enables a democratic creative experience for participants.<br /

Developing creative citizens through experiential learning environments in applied drama

The Seoul Agenda (2010, p.8) recognizes the value of arts education in enhancing creative and innovative capacity in young people. It goes so far as to suggest that applying arts will &ldquo;cultivate a new generation of creative citizens&rdquo;. This paper documents a specific area of arts education in university level drama degrees. In a case study approach, it discusses the outcomes of a work-based learning approach for students of applied drama. It explores the drama student‟s experience and considers how engaging in the study of applied drama and applied performance and having the support and opportunity to transfer these skills in real contexts acts to develop creative capacity and to contribute to consolidating the students‟ identities as citizen

Body, Space and Time in Networked Performance

This special issue of Liminalities has been compiled from the outcomes of the conference Remote Encounters: Connecting bodies, collapsing spaces and temporal ubiquity in networked performance held at the University of South Wales on the 11th and 12th of April 2013. By providing an overview of contributions to the issue this editorial aims to both introduce networked performance to a new readership and for those already practicing in the field assemble and present the interdisciplinary and transdisciplinary practice that can be considered as networked performance. Contributor's research themes, practice issues and their creative solutions are identified revealing common threads of enquiry running throughout the issue. In addition notable papers and performances from the conference that have not been included in this issue are discussed briefly

Remote Encounters: Connecting bodies, collapsing spaces and temporal ubiquity in networked performance

Remote Encounters: Connecting bodies, collapsing spaces and temporal ubiquity in networked performance was a two-day international conference with performance evening organised and chaired by myself at the University of South Wales on the 11th and 12th of April 2013. Its purpose was to explore the use of networks as a means to enhance or create a wide variety of performance arts. How do networks as a site for performance provide opportunities for us as artists and performers? In particular how can we remotely collaborate, merge geographically separate places and times, reconfigure the space of performance and the relationship between artist and audience? The conference was initiated as part of my research and practice on networked art and with a view to revealing performative aspects within that practice. A mixture of delegates with differing research, practice, means and economic situations, attended representing a wide variety of performance arts. Artists performing at the conference in Wales performed with others (artists and audience) in England, France, Belgium, Italy, Singapore and the United States confirming that visual forms enabled a multitude of possibilities for artists to see, synchronise, collaborate and create at distance. Papers discussed issues concerning remoteness, artist’s performance methods and technological techniques were explored in depth and the network was considered in a number of ways as an enabling or limiting technology. The journal of performance studies, Liminalities issue 10.1, is a special issue guest edited by Garrett Lynch (University of South Wales) and Rea Dennis (Deakin University). The contributions to this issue have been compiled from the preceedings of the conference Remote Encounters: Connecting Bodies, Collapsing Spaces and Temporal Ubiquity in Networked Performance

Beyond narrative: sound design as dramaturgy in contemporary performance

Autobiographical performance is often characterised by a linguistic approach to storytelling. This paper presents discoveries from a practice-led research inquiry into the mediated translation of narrative elements within the making of autobiographical performance Train Tracks and Rooftops. Specifically, it presents the way sonic texts emerged within the process of translating away from narrative form. The paper sets out the technical aspects of the process and critiques the shift in meaning that comes from an understanding of sound dramaturgy and sound as performance architecture. The experience of the maker/performers\u27 relationship to their live and mediated voice is discussed

Presents//presence: Telematics, performance and embodiment

Of giving and receiving // Of giving and taking // Of exchangesReciprocity // Mutuality // ExpectationsA performance of liveness in which the presence of the performer is interrogated.Drawing on Dan Graham\u27s (1974) Two Consciousness Project, Presents//Presence plays on Object = Space relationships. Engaging with contemporary notions of thinking and consciousness, the performance plays with time - the here and now, the passage of time, time zones, and timing.Lovers. An anniversary. Fine Dining. Distance. Skype.Presents disrupt subject positions of audience, of performer; something happens while we are waiting for something else to happen. Through the use portable computers and hand-held (smart) devices for the capture and \u27projection\u27 of action in real time, the exploration sets out to engage with notions live and remote, absence and presence, the play of embodied transmission and live performance and the perception of absence.Through a simulation of the simultaneous presences (performances) of performers Magda Miranda and Rea Dennis, Presents//Presence is a performative event that (re) activates live/d moments in the lives of the artists. Such presence characterizes computer time &ndash; &ldquo;a permanent present, an unbounded, timeless intensity&rdquo; (Virilio in Dixon 90). Such presence could also be said to characterize the intra-subjective experience of intimacy. The piece draws on the languages of live theatre, elements of autobiographical performance, inter- and intra-subjective perception, and an understanding of time as a spatial metaphor. This paper reports on the performance event Presents//Presence. In it, we outline the narrative and structural anchors that frame the piece and discuss some of the theoretical threads informing the research. The paper is accompanied by a recording of the performance that was delivered to a live audience at University of South Wales, Cardiff during the Remote Encounters conference in April 2013.<br /

Viola glabella Nutt.

https://thekeep.eiu.edu/herbarium_specimens_byname/20178/thumbnail.jp

Verbena lasiostachys Link

https://thekeep.eiu.edu/herbarium_specimens_byname/19324/thumbnail.jp

Dancing with inter-disciplinarity: strategies and practices in higher education dance drama and music

The rise of inter-disciplinarity has not occurred without debate and controversy. Often responding to government agendas, it is not uncommon for university research strategies to include inter-disciplinarity by default, by supporting multidisciplinary collaborations across the institution, nationally and internationally &ndash; industry and business being a particular focus. Beginning from the premise that Inter-disciplinary is where students/staff from more than one discipline learn with, from and about one another through a common activity, usually in the context of practice, this report documents the findings of a recent research project aimed to document ways in which inter-disciplinary approaches were active in universities, how they were resourced, what made them effective, and in what ways they are limited