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Dr Alissa Clarke

Job: Senior Lecturer in Drama

Faculty: Arts, Design and Humanities

School/department: School of Visual and Performing Arts

Research group(s): Cinema and Television History (CATH) Research Centre

Address: De Montfort University, The Gateway, Leicester, UK, LE1 9BH

T: +44 (0)116 207 8953

E: a.clarke@dmu.ac.uk

W: www.dmu.ac.uk/arts

 

Personal profile

Alissa joined the School of Arts in 2009, after completing an AHRC-funded PhD at the University of Exeter.  Her doctoral thesis explored the possibilities of creating embodied, performative writing with which to document the experiences of psychophysical performer trainings.

Alissa has been practising Phillip Zarrilli’s Asian martial / meditational arts-based performer training since 2002, and has been involved with Sandra Reeve’s ‘Move into Life’ movement work since 2005.  These forms of performer training provide the foundations for her practice, teaching and much of her writing.

Her research interests include: contemporary body-based performance practice; psychophysical performance and performer training; feminist and gender theory and performance practice (live and on film); actor training, performative personae, female stars and classical Hollywood cinema; documentation of performance.  She is currently developing a series of projects focused upon gendered analysis of the practices and discourses within and surrounding psychophysical performer trainings, with a particular interest in discourses / acts rooted in pleasure and kindness.

For further details about Alissa’s research interests, see: http://vimeo.com/32522698 and http://www.pleasurecentre.org/pleasure-symposium-1-2012-videos/

Research group affiliations

Publications and outputs 

 

Click here for a full listing of Alissa Clarke's publications and outputs.

Key research outputs

Clarke, Alissa (2013) ‘Orgasms and Oppositions: Dani Ploeger’s ELECTRODE’, ‘Critical Acts’, The Drama Review, 57: 3, 158-163.

Clarke, Alissa (2009)  ‘“Advance Error by Error, with Erring Steps”: Embracing and Exploring Mistakes and Failure Across the Psychophysical Performer Training Space and the Page,’ The Journal of Writing in Creative Practice, 2:2, 193-207. 

Clarke, Alissa (2009)   Family Roles and Paternal / Maternal Genealogies within and between Psychophysical Performer Trainings and their Documentation,’ Platform: Staging Gender(s) [online] 4:1, 25-43. Available from:  http://www.rhul.ac.uk/dramaandtheatre/documents/pdf/platform/41/6psychophysicalperformance.pdf.

Research interests/expertise

  • Contemporary body-based performance practice
  • Psychophysical performance and performer training
  • The performer’s body
  • Feminist and gender theory and performance practice
  • Actor training, performative personae, female stars and classical Hollywood cinema
  • Documentation of performance

Areas of teaching

  • Avant-garde twentieth-century and contemporary performance practice
  • Psychophysical performer training and performance
  • Critical theory and performance
  • Acting, scripting, directing
  • Devising
  • Supervision of undergraduate and postgraduate dissertations

Qualifications

Fellow of The Higher Education Academy

Postgraduate Certificate in Higher Education, De Montfort University, Leicester

PhD in Drama, University of Exeter

MA in Theatre Practice, University of Exeter

BA (Hons) in Drama and English & American Literature, University of Kent

Courses taught

Undergraduate Modules:

Drama Studies BA (Hons)

  • DRAM 1000: Acting, Scripting, Directing
  • DRAM 1002: A Contextual Introduction to Performance (Module Leader)
  • DRAM 2003: Devising (Module Leader)
  • DRAM 3000: Drama Research Project
  • DRAM 3008: Engaging with Creative Industries

Postgraduate Modules:

Performance Practices MA

  • PERF 5002: Perspectives (Module Leader)
  • PERF 5003: Performance Making
  • PERF5702 / PERF5704 Faculty Major Projects

Honours and awards

2014   Awarded a place on The Vice-Chancellor’s Future Research Leaders’ Programme, De Montfort University, Leicester.

Conference attendance

Conferences Co-organised

  • 2014   Borderlines: Performances, Disciplines, Dialogues, De Montfort University, Leicester.
  • 2013   The Body in Twentieth- and Twenty-First Century Performance, De Montfort University, Leicester.

Conference Papers

  • 2014 ‘Flaying, Killing and Loving: Discourses of Pain and Pleasure in Psychophysical Performer Training,’ Borderlines: Performances, Disciplines, Dialogues, De Montfort University, Leicester.
  • 2013 ‘Laughter and Love: Creative Counter-Discourses within Psychophysical Performer Training,’ The Body in Twentieth- and Twenty-First Century Performance, De Montfort University, Leicester.
  • 2012 ‘Drifting, Dreaming, Playing: Transferring Pleasures from the Body to the Page,’ Pleasure: A University-Wide Interdisciplinary Symposium Presented by Fine Art Research, De Montfort University, Leicester. Video documentation of paper, questions and plenary session available from: http://www.pleasurecentre.org/pleasure-symposium-1-2012-videos/
  • 2012 ‘Roundtable 3: Critical Performance Technologies: Disowning Geek Culture’ (Panel Respondent to ‘Cabinets of Post-Digital Curiosities’), Artaud Forum 2: Konnecting Gestures, International Conference-Workshop on Performance and Sound Technologies, Brunel University.
  • 2011 ‘“Bursting” with Pleasures through the Body and the Text: Documenting Psychophysical Performer Trainings,’ Performance and the Body Working Group, Theatre and Performance Research Association Conference, Kingston University.
  • 2011 ‘“Points of View”: Exploring and Reflecting Embodied Gazes in the Performer Training Space,’ Fostering Trans-disciplinary Perspectives on Embodied Process and Performance: Dance and Somatic Practices Conference, Coventry University.
  • 2011 ‘The Pleasures of Writing about the Pleasures of the Practice: Documenting Psychophysical Performer Trainings,’ Documenting Performance: Exploring the Problems, Theatre and Performance Research Association Documenting Performance Working Group Interim Symposium, University of Kent.
  • 2010 ‘“Living Mirrors”: Reflecting and Recording Multiple Embodied Gazes in the Psychophysical Performer Training Space,' Performance and the Body Working Group, Theatre and Performance Research Association Conference, University of Glamorgan.
  • 2010 ‘“The Habit of Holding Out One’s Hand”’: Pedagogies of Kindness and Giving in the Performer Training Space,’ IUTA 8th World Congress – Theatre and Pedagogy, De Montfort University, Leicester.
  • 2009  ‘The Art of Giving and Loving,’ co-written and presented with Paul Hurley, Performance and the Body Working Group, Theatre and Performance Research Association Conference, University of Plymouth.

Workshop attendance

  • 2014   The Ecological Body Workshop with Sandra Reeve. Wootton Fitzpaine and Stonebarrow, Charmouth, West Dorset.
  • 2014   Intermediate and Advanced Intensive Performer Training Course with Phillip Zarrilli. Tyn-y-Parc Studio, Llanarth, Wales.
  • 2013   Intermediate and Advanced Intensive Performer Training Course with Phillip Zarrilli. Tyn-y-Parc Studio, Llanarth, Wales.
  • 2013   The Ecological Body Workshop with Sandra Reeve. Wootton Fitzpaine and Westhay, West Dorset.
  • 2012   Body in Movement Workshop with Sandra Reeve. Wootton Fitzpaine, West Dorset.
  • 2012    Space-Site-Environment-Place Workshop with Sandra Reeve. Greta Berlin’s Sculpture Garden, Charmouth Forest, Nr.Wootton Fitzpaine, West Dorset.
  • 2012   Intermediate and Advanced Intensive Performer Training Course with Phillip Zarrilli. Tyn-y-Parc Studio, Llanarth, Wales.
  • 2012   Sea Moves Workshop with Sandra Reeve. Charmouth, West Dorset.
  • 2011   Strata: Autobiographical Movement Workshop with Sandra Reeve. Charmouth, West Dorset.
  • 2010   Strata: Autobiographical Movement Workshop with Sandra Reeve. Charmouth, West Dorset.

Current research students

Sarah Julius, PhD in Performance Studies (Subject: Re-enactment / Re-performance), 1st Supervisor

Alice Tuppen, MPhil / PhD (Subject: Digital Performance and the feminine), 3rd Supervisor

Jennifer Voss, MA by Research (Subject: Performative Personas: A Comparative Study of Louise Brooks and Clara Bow), 1st Supervisor

Externally funded research grants information

2004 – 2008   AHRC-funded PhD in Drama at the University of Exeter.

Internally funded research project information

Alissa was awarded University Research Leave between October – December 2012.  During this time she worked upon essays focused upon the gendered analysis of psychophysical performer training.

Alissa was also awarded research funding by the Performance Research Group in May 2014, by the School of Arts Research Committee in May 2012, and by the Department of Performance & Digital Arts Research Committee in June 2011.

Professional esteem indicators

Reviewer for New Theatre Quarterly.

Reviews

Clarke, Alissa and Ploeger, Daniël (2013)   ‘Drama and Performance,’ in Tucker, David (ed.), The Year’s Work in Critical and Cultural Theory, 21, Oxford: Oxford University Press. Available from: http://ywcct.oxfordjournals.org/content/early/2013/06/19/ywcct.mbt011.abstract

Clarke, Alissa (2012)  ‘Exzess, Präzision und Anwesenheit: Dani Ploeger’s ELECTRODE. Eine Psychophysische Perspektive’, trans. by Antje Dudek, CYNETART 2012 Catalogue, Dresden: Transmedia Akademie Hellerau.

Clarke, Alissa (2012)  ‘Fantasy and Fetish: Dani Ploeger’s biotope,’ biotope Programme. Available from: http://www.daniploeger.org/#!clarke/c23vf .

Clarke, Alissa (2012)  ‘Review of An Actress Prepares’, New Theatre Quarterly, 28:3. 301-302.

Case studies

Other forms of public presentation

  • 2014   Yearning, solo performance shown as part of Changing in the Changing: The Ecological Body Open Day. Westhay, Dorset. 5 September.
  • 2014   Co-interviewing British film, television and theatre actor and television writer, Joanna Scanlan, as part of a Q+A for a multidisciplinary audience, De Montfort University, Leicester, 26 February.
  • 2013   ‘Discourses and Power: Gender and Psychophysical Performer Trainings,’ invited talk as part of Phillip Zarrilli’s Intermediate and Advanced Intensive Performer Training. Tyn-y-Parc Studio, Llanarth, Wales, 1 August.
  • 2013   Life after the PhD, Postgraduate Employability Presentation, University of Exeter, 27 February.
  • 2012   Chase, solo performance shown as part of Sandra Reeve’s Space-Site-Environment-Place Workshop. Greta Berlin’s Sculpture Garden, Charmouth Forest, Nr.Wootton Fitzpaine, West Dorset, 9 September.
  • 2012  Introducing and co-ordinating Professor Phillip Zarrilli’s Drama Lecture, ‘Attending to the [Performance] Task At-Hand: The Actor’s Embodied “Present,” Perspectives on Acting from Cognitive Neuroscience.’ De Montfort University, Leicester.
  • 2011   ‘The Pleasures of Writing about the Pleasures of the Practice: Documenting Psychophysical Performer Trainings,’ Drama Studies Research Seminars, De Montfort University, Leicester.
  • 2010   ‘“Points of View”: Exploring and Reflecting Embodied Gazes in the Performer Training space,’ Drama Studies Research Seminars, De Montfort University, Leicester.
Alissa Clarke

Search Who's Who

Chase 2012 solo performance

Chase 2012 solo performance

Chase (2012), solo performance as part of Sandra Reeve’s Space-Site-Environment-Place Workshop in Greta Berlin’s Sculpture Garden.

 
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