Institute of Dance, Drama and Performance Studies publications and performances

stans-cafe slapstick intermedial-theatre

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A selection of recent outputs produced by institute members

Adewole, F. (2016) The construction of the Black dance/African Peoples' dance section in Britain: Issues arising for the conceptualisation of related choreographic and dance practices. In: (Eds) C. Adair and R.Burt, British Dance, Black Routes. Routledge. New York, pp. 125-148.

Adewole, F (2018) James Mweu and Kunja Dance Theatre: Contemporary Dance as African Cultural Production. In: Hutchinson, Y. and Okoye, C. (Eds.) African Theatre: 17, Oxford: Boydell & Brewer.

Bakewell, L. et al. (2019) From Gallura to the Fens: Communities Telling Stories of Water. In: Water, Creativity and Meaning: Multidisciplinary Understandings of Water Human Relationships. Ed by Liz Roberts and Katherine Phillips (Routledge: London).

Burt, R. (2016) Ungoverning Dance: Contemporary European Dance and the Commons. Oxford University Press.

Burt, R. and Huxley, M. (2020) Dance, Modernism and Modernity. Abingdon: Routledge.

Chapman, K. and Whittington, A. (2016) The Thrill of Love. BBC Radio 4. Written and adapted by Amanda Whittington. Co-produced and directed by Kate Chapman. 

Clarke, A. (2015) ‘Laughter and Love: Creative Counter-Discourses within Performer Training,’ Theatre, Dance and Performance Training, 6:3, 291 – 306. 

Clarke, A. (2019) “Am I Providing a Good Show for You?:” Female Performance, Labor and Collaborative Agency in Niki de Saint Phalle and Peter Whitehead’s Daddy (1973), Feminist Media Histories, 5: 2. 148-180. 

Crossley, M. and Yarker, J. (2017) Devising Theatre with Stan's Cafe, London, Bloomsbury Methuen 

Crossley, M. ed. (2019) Intermedial Theatre: Principles and Practice. Palgrave, London

Curtis, H. (2014) Restaging Feminism in Los Angeles: Three Weeks in January (2012): Three Weeks in May (1977). n.paradoxa: international feminist art journal, 34, pp. 77-85 

Curtis, H. and Hargreaves, M. (eds.) (2017) Kira O'Reilly: Untitled (Bodies). Bristol and London: Intellect and Live Art Development Agency. 

Doughty, S., Kendall, L. and Krische, R. (2020) Please Do Touch  at Leicester Gallery, DMU, Friday 28 February 2020; at Modes of Capture: The Capturing of Process in Contemporary Dance-Making conference, Irish World Academy of Music and Dance, University of Limerick, Ireland, 22nd June 2019; and Leicester New Walk Museum and Arts Gallery. Saturday 1 and Sunday 2 December 2018.

Doughty, S. (2020) Hourglass: Mark-making In and As Performance. In: Journeaux, J., Gorrill, H., Reed, S. (Eds.) Body, Space, and Place in Collective and Collaborative Drawing: Drawing Conversations II. Cambridge: Cambridge Scholars, pp. 67 - 84.

Jordan, K. (2016) On the Border of Participation: Spectatorship and the Interactive Rituals of Guillermo Gómez-Peña and La Pocha Nostra. Journal of Contemporary Drama in English, 4 (1), pp. 104-118 

Jordan, K. (2019) The Ethics of Participation and Participation Gone Wrong. Journal of Contemporary Drama in English, 7 (2), pp. 187-209 

Leach, M. (2015) Letting Tattered Clothing Sing: Tadeusz Kantor’s Anatomy Lesson. In: Kobialka, M. & Zarzecka, N. (eds.), Tadeusz Kantor’s Memory: Other pasts, other futures, London and Wrocław: Polish Theatre Perspectives: pp. 23–40. 

Leach, M. (2018) Psychophysical what? What would it mean to say ‘there is no “body” … there is no “mind”’ in dance practice? Research in Dance Education, 19 (2), pp. 113-127 

Parsons, E. (2019) "Therefore ha' done with words": Shakespeare and Innovative British Ballets. In: The Oxford Handbook of Shakespeare and Dance, ed. by Lynsey McCulloch and Brandon Shaw, Oxford: Oxford University Press 

Peacock, L. (2014) Slapstick and comic performance. Basingstoke, England: Palgrave Macmillan. 

Peacock, L. (2020) 'Battles, Blows and Blood: Pleasure and Terror in the Performance of Clown Violence'. Journal of Comedy Studies. 11:1, 74-84.

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