References

[1]  There were four-hundred-and-ninety-two different combinations of outcomes within the computerised system that structured the performance, not taking into account improvisation by the performers, and indeed, the audience.

[2]  The challenge of developing a methodological approach for practice-as-research from within an arts discipline, rather than borrowing from other disciplines, is articulated succinctly by Graeme Sullivan. Graeme Sullivan, Art Practice as Research: Inquiry in Visual Arts (Los Angeles: SAGE, c2010), p. 95.

[3]  The ‘Practice As Research In Performance’ project sets the standard, and offers a context for the institutionalisation of practice-led research. http://www.bris.ac.uk/parip/introduction.htm The Arts and Humanities Research Council special provision for practice-led research projects was discontinued in 2009 due to their perception that such projects were now sufficiently widely accepted as forms of research that they did not require a bespoke funding stream. http://www.ahrc.ac.uk/Funding-Opportunities/Pages/Fellowships-in-the-Creative-and-Performing-Arts.aspx

[4]  Baz Kershaw with Lee Miller/ Joanne ‘Bob’ Whalley and Rosemary Lee/Niki Pollard, ‘Practice as Research: Transdiscipinary Innovation in Action’ in Research Methods in Theatre and Performance, ed. Baz Kershaw and Helen Nicholson (Edinburgh: Edinburgh University Press, 2011), pp. 63-86; p. 63.

[5]  Michel De Certeau, The Practice of Everyday Life, trans. Steven Rendall (Berkley; Los Angeles; London: University of California Press, 1988)

[6]  Tracy C. Davis, Stages of Emergency: Cold War Nuclear Civil Defense (Durham, N.C.: Duke University Press, 2007)

[7]  For a detailed account of rehearsal improvisations that enable situational specificity – and which are widely used by practitioners in the commercial and subsidised theatre in the UK, see Katie Mitchell, The Director’s Craft: a Handbook for the Theatre (London: Routledge, 2010)

[8]  As evidenced by a debate chaired by Chris Smith at the ICA as part of LIFT, 2010, which made the claim that theatre was not addressing climate change. 3rd Ring Out was cited by playwright Steve Waters and producer Pippa Bailey as a counter example. http://www.ica.org.uk/?lid=24903

[9]  Mike Hulme, Why we disagree about climate change: Understanding Controversy, Inaction and Opportunity (Cambridge; New York: Cambridge University Press, 2009), p. xxvii

[10]  Peter Szondi, Theory of the Modern Drama, trans. Michael Hays (Cambridge: Polity Press, 1987)

[11]  Campbell, Keith W., Amy B. Brunell, and Joshua D. Foster. ‘Sitting Here in Limbo: Ego Shock and Posttraumatic Growth’ Psychological Inquiry, Vol. 15, No. 1, 2004, 22-26

[12]  David Coyle, James Moore, Per Ola Kristensson, Paul C. Fletcher, Alan F. Blackwell, ‘I did that! Measuring Users’ Experience of Agency in their own Actions’, CHI 2012, May 5–10, 2012, Austin, Texas, USA, 2025-34

[13] Nicolas Bourriaud, Relational Aesthetics (Paris: Les Presses du reel, 2002 (originally published in French: 1998))

[14] Claire Bishop, ‘Antagonism and Relational Aesthetics’, October 110 (Autumn 2004), 51-79.

 

 

 

 

 

 

 

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