Journal•ISSN: 1468-2761
Studies in Theatre and Performance
Taylor & Francis
About: Studies in Theatre and Performance is an academic journal published by Taylor & Francis. The journal publishes majorly in the area(s): Drama & Theatre studies. It has an ISSN identifier of 1468-2761. Over the lifetime, 526 publications have been published receiving 1898 citations. The journal is also known as: STP & Studies in theatre & performance.
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TL;DR: The debate about the research status of practice has become increasingly vigorous in Britain during the period immediately preceding and now following the 2001 Research Assessment Exercise as discussed by the authors, and the future of the performing arts in the academies is at issue.
Abstract: The debate about the research status of practice has become increasingly vigorous in Britain during the period immediately preceding and now following the 2001 Research Assessment Exercise. There are career implications for academics in other countries, as well, and the future of the performing arts in the academies is at issue. STP has published, in successive issues (21: 3, 22: 1 and 22: 2) papers by Baz Kershaw, Melissa Trimingham and John Freeman, each offering a particular perspective on the relationship between practice and research. What follows is an edited selection of a sequence of correspondence on the common mail-base dedicated to furthering debates between teachers of Drama and related disciplines. Whilst the contributors are located in the United Kingdom, the debate is without national borders. STP is concerned to open it out to its international readership as well as to house, in the comparative permanence of print, ideas that may otherwise rot in the sin bin of deleted e-mails.
124 citations
TL;DR: In this article, the authors argue for the necessity of using a guiding methodology within all practical research in order to evaluate outcomes and validate its designation as research, and propose a methodology that might be of practical use to lecturers working with students within an academic establishment.
Abstract: Amidst all the continuing debate as to what constitutes and validates practice as research, there is an absence of a clearly articulated methodology, particularly one that might be of practical use to lecturers working with students within an academic establishment. This article argues for the necessity of using a guiding methodology within all practical research in order to evaluate outcomes and validate its designation as research.
54 citations
TL;DR: In this paper, a contingent history of practice as research, including the development of PARIP (Practice as Research in Performance), is presented, along with a partial account of the origins of the PARIP, and of the politically charged institutional contexts of 'creative practice' in UK higher education over the past ten years.
Abstract: In this paper, PARIP's full-time postdoctoral research associate constructs a contingent historiography of practice as research, including the development of PARIP (Practice as Research in Performance). It is a partial account of the origins of PARIP, and of the politically charged institutional contexts of ‘creative practice’ in UK higher education over the past ten years.
46 citations
TL;DR: In this paper, the authors present the first findings of an AHRB-funded research project into audience responses to the stage adaptation of J.G. Ballard's Crash, focusing on the complicated meanings of "liveness" to audiences and how they conceived the differences between stage and screen.
Abstract: In 1996 David Cronenberg's film of J.G. Ballard's Crash led to a huge controversy in Britain, much of which turned on claims of what the film might do to its audience, claims which were the subject of a major ESRC-funded study. In 2001, in Aberystwyth, David Rabey mounted a stage adaptation of Ballard's book. This essay presents the first findings of an AHRB-funded research project into audience responses to the stage adaptation. One theme in particular is explored: the complicated meanings of ‘liveness’ to audiences, and how they conceived the differences between stage and screen. This, it is argued, connects with a deep-going assumption about the superiority of stage over screen. The essay examines the tensions within this assumption by their relations with Philip Auslander's Liveness.
41 citations
TL;DR: The Radical in Performance as discussed by the authors is a seminal work in the field of theatre and performance, focusing on the radical in performance and its relationship with the performance of the playwright and the actor.
Abstract: (2000). The Radical in Performance. Studies in Theatre and Performance: Vol. 20, No. 3, pp. 209-210.
40 citations