Although the sciences have long understood the value of practice-based research, the arts and humanities have tended to structure a gap between practice and analysis. This book examines differences and similarities between Performance as Research practices in various community and national contexts, mapping out the landscape of this new field.

Autorentext
ANNETTE ARLANDER, Professor of Performance Art and Theory and head of the Department of Research Development, Theatre Academy, Finland MARILYN ARSEM, Regular Full-time Faculty and the head of the Performance Area at the School of the Museum of Fine Arts, Boston, USA, and founder of Mobius, Inc. SHARON MARIE CARNICKE, Professor of Theatre and Slavic Languages and Literatures at the University of Southern California, USA JAMES ELKINS, Professor of Art History, Theory, and Criticism, School of the Art Institute of Chicago, USA. FAYE CHUNFANG FEI, Professor of English and Drama and Director of American Studies, East China Normal University, Shanghai, China SUSAN LEIGH FOSTER, Professor in the Department of World Arts and Cultures, UCLA, USA RICHARD GOUGH, Professor at Aberystwyth University, UK and Artistic Director of the Centre for Performance Research SANDRA JEAN GRAHAM, Assistant Professor in the Department of Music, University of California, Davis, USA BRAD HASEMAN, Professor and Assistant Dean (Research) for the Creative Industries Faculty, Queensland University of Technology, Australia SHANNON JACKSON, Professor in the Departments of Rhetoric and Theater, Dance and Performance Studies, University of California, Berkeley, USA SIMON JONES, Professor of Performance at the University of Bristol, UK, and Co-Director of the performance company Bodies in Flight NICK KAYE, Chair in Performance Studies, University of Exeter, UK SUSAN KELLY, Lecturer in Fine Art, Goldsmith's, University of London, UK BAZ KERSHAW, Professor of Performance, University of Warwick, UK, and director of PARIP (Practice as Research in Performance) LAURA LEVIN, Assistant Professor in the Department of Theatre, York University, UK PETER LICHTENFELS, Professor in the Department of Theatre and Dance, University of California, Davis, USA ROSEMARY MALAGUE, Director of the Theatre Arts Program and Senior Lecturer in Theatre Arts, University of Pennsylvania, USA LARA NIELSEN, Assistant Professor in the Department of Theater and Dance, Macalester College, USA ILYA NOÉ, PhD Candidate in Performance Studies, University of California, Davis, USA JANE PLASTOW, Professor of African Theatre and Director of Centre for African Studies, University of Leeds, UK, and Deputy Director of the Workshop Theatre DELLA POLLOCK, Professor of Performance and Cultural Studies in the Department of Communication Studies, University of North Carolina Chapel Hill, USA JON D. ROSSINI, Associate Professor in the Department of Theatre and Dance, University of California, Davis, USA JOSEPH 'BUTCH' ROVAN, Associate Professor in the Department of Music and co-director of MEME: Multimedia and Electronic Music Experiments, Brown University, USA ARTHUR J. SABATINI, Associate Professor of Performance Studies in the Department of Interdisciplinary Arts and Performance, Arizona State University, USA HENRY SPILLER, Assistant Professor in the Department of Music, University of California, Davis,USA WILLIAM HUIZHU SUN, Professor and Vice President at Shanghai Theatre Academy, China JOHN T. WARREN, Associate Professor of Speech Communication, Southern Illinois University, Carbondale, USA IAN WATSON, Chair of the Department of Visual and Performing Arts and Professor and Coordinator of the Theatre Program, Rutgers University, Newark, USA JULIE WYMAN, Assistant Professor of Technocultural Studies, University of California, Davis, USA KIM YASUDA, Professor in the Department of Art, University of California, Santa Barbara, USA, and Co-Director of the University of California Institute for Research in the Arts

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List of Figures Acknowledgements Abbreviations and Acronyms Contributors Introduction PART I: LAY OF THE LANDSCAPE GEOGRAPHIES, LEGACIES, DISCIPLINES 1 Performance Practice as Research: Perspectives from a Small Island; B.Kershaw Working on the Middle Ground: A Case-Study of Institutional Inter-Action about Practice-as-Research; S.Jones Troubling Performance: Local, National and International; R.Gough Using Performance as a Practice as Research tool in Africa; J.Plastow Rating the Theatre Practitioner: A South African Case-Study; T.Hauptfleisch Performance as Research in Australia: Legitimating Epistemologies; B.Haseman Locating the Artist-Researcher: Shifting Sites of Performance as Research [PAR] in Canada; L.Levin Social Performance Studies [in China]: Between the Real and the Virtual; W.H.Sun & F.C.Fei Artistic Research - From Apartness to the Umbrella Concept at the Theatre Academy, Finland; A.Arlander An Actor Prepares: Performance as Research [PAR] in the Theatre; I.Watson Making a Dance/Researching through Movement; S.L.Foster Performance as Research [PAR] in North American Ethnomusicology; S.J.Graham The Three Configurations of Studio-Art PhDs; J.Elkins Approaching Knowledge, Research, Performance, and the Arts; A.J.Sabatini PART II: CARTOGRAPHIES TERMS FOR FINDING/CHARTING THE WAY(S) Action Research; K.Yasuda Disjunction: Performing Media Space; N.Kaye Embodiment; P.Lichtenfels Environment; B.Kershaw Lab/Studio; S.R.Riley Medium; S.Kelly Oral History; D.Pollock Site-Particular; I.Noé Situated Knowledge; L.Hunter PART III: MAPPING PAR IN THE US COMMUNITIES, CLASSROOMS, STAGES, AND HOLODECKS When Is Art Research?; S.Jackson The Oral History Project: Practice-Based Research in Theatre and Performance; L.D.Nielsen University Gamelan Ensembles as Research; H.Spiller Performative and Pedagogical Interventions: Embodying Whiteness as Cultural Critique; J.T.Warren Open up the Box: Pedagogy, Action Research and Art; K.Yasuda Searching forSpalding Gray: PAR Pedagogy, an Undergraduate Ensemble, and 'The Edinburgh Project'; R.Malague Valuing Performance/Practice as Academic Knowledge; L.Hunter Performed Research: Audience as Investigator; M.Arsem Miss Translation USA Goes to Cuba: Performance as Research toward a Performative Ethnography; S.R.Riley Acting (on) our own Discomforts: BLW's [Media] Performance as Research; J.Wyman Theory/Practice as Research: Explorations, Questions and Suggestions; L.Hunter Dramaturgy: Conceptual Understanding and the Fickleness of Process; J.D.Rossini Collisions in Time: 21st Century Actors Explore Delsarte on the Holodeck; S.M.Carnicke Living on the Edge: Alternate Controllers and the Obstinate Interface; J.B.Rovan Select Bibliography Index