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Practice research |
Practice research is a form of academic research which incorporates an element of practice in the methodology or research output.
Rather than seeing the relationship between practice and theory as a dichotomy, as has sometimes traditionally been the case (see academia: theory and practice heading), there is a growing body of practice research academics across a number of disciplines who use practice as part of their research. For example the practice-based research network (PBRN) within clinical medical research. Within arts and humanities departments there are ongoing debates about how to define this emerging research phenomenon, and there are a variety of models of practice research (practice-as-research, practice-based, practice-led, mixed-mode research practice and practice through research), see for example screen media practice research.
The UK's Arts and Humanities Research Council ([1]) currently has a Steering Committee devoted to practice-led research and its report is to be completed in September 2007.
PARIP
PARIP — Practice as Research in Performance — was a five-year project directed by Professor Baz Kershaw and the Department of Drama: Theatre, Film, Television at the University of Bristol, UK. It was funded by the Arts and Humanities Research Board. From January 2001-February 2005 Dr Angela Piccini and Dr Caroline Rye were the project's post-doctoral research associates and were responsible for the day-to-day running of the project. Dr Ludivine Allegue was the post-doctoral research associate from April 2005-September 2006.
PARIP's objectives were to investigate creative-academic issues raised by practice as research, where performance is defined, in keeping with AHRB and RAE documentation, as performance media: theatre, dance, film, video and television. As a result of PARIP's investigations and in collaboration with colleagues, educational institutions and professional bodies throughout the UK and Europe PARIP aimed to develop national frameworks for the encouragement of the highest standards in representing practical-creative research within academic contexts.
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1997. From Acting to Performance. London: Routledge.
1997. Ontology vs. history: making distinctions between the live and the mediatized. [2].
1999. Liveness: Performance in a Mediatized Culture. London: Routledge.
2001. Looking at records. The Drama Review 169: 77-83.
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1983. Universals of performance; or amortalizing play. SubStance 37/38: 140-161.
1992. To All Appearances: Ideology and Performance. London: Routledge.
Borsato, Diane. 2001. Sleeping with cake: and other affairs of the heart. The Drama Review 169: 59-67.
Briginshaw, Valerie and Claid, Emilyn. 2003. Embodying ambiguities: intertextual plays between space/time philosophies and the performing body
Burgess, Robert. 1997. Practice-based Doctorates in Creative and Performing Arts and Design. Coventry: UK Council for Graduate Education.
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Carr, D. 1978. Practical reasoning and knowing how. Journal of Movement Studies 4 (1): 3-20.
1987. Reason and inspiration in dance and choreography. In J. Adshead (ed.). Choreography: principles and practice. Guildford: University of Surrey / NRCD, pp. 40-50.
1999a. Art, practical knowledge and aesthetic objectivity. Ratio 12 (3): 240-256.
1999b. Further reflections on practical knowledge and dance a decade on. In G. McFee (ed.). Dance, Education and Philosophy. Oxford: Meyer and Meyer Sport.
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Chanan, Michael. 2002. Uses and abuses of documentary. Journal of Media Practice 2 (2): 83-88.
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Cologni, Elena. 2003. Documenting performative practice
Copeland, Roger. 1990. The presence of mediation. The Drama Review 34(4): 42.
Csikszentmihalyi, Mihaly. 1990. Society, culture and person: a systems view of creativity. In Robert J. Sternberg (ed.), The Nature of Creativity: Contemporary Psychological Perspectives. Cambridge: Cambridge University Press, pp. 325-339.
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Daboo, Jerri. 2003. Removing the writing from the wall, and then removing the wall: cultivating a sense of the ridiculous in practice as research. Studies in Theatre and Performance 23 (2): 125-134.
Dehlholm, Kirsten. 2002. Questionnaire 3. Performance Research 7(4): 86-87.
De Marinis, Marco. 1985. 'A faithful betrayal of performance': notes on the use of video in theatre. New Theatre Quarterly 1(4): 383-389.
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Dixon, Steve. 1999. Digits, discourse and documentation: performance research and hypermedia. The Drama Review 43(1).
Dixon, Steve. 2003. Absent fiends : internet theatre, posthuman bodies and the interactive void. Presence. [3]
Dowmunt, Tony. 2003. A Whited Sepulchre: autobiographical film/video as practice/research. Journal of Media Practice 4 (1): 17-26.
Dreyblatt, Arnold. 2002. Questionnaire 2. Performance Research 7(4): 48-49.
Dunn, J. 1997. Back to the Rough Ground: practical judgement and the lure of technique. Notre Dame: University of Notre Dame Press.
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Elliot, Nils Lindahl. 2000. Pedagogic discourse in theory-practice courses in Media Studies. Screen 41(1): 18-32.
Ellis, John. 2000. What do we mean by media practice education? Journal of Media Practice 1: 5-11.
2003. Research and the problem of ‘the industry’
Erenstein, Robert L. 1988. Theatre and Television. Amsterdam.
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Fische-Lichte, Erika. 1997. Performance art and ritual: bodies in performance. Theatre Research International 22(1): 22-37.
Foreman, Richard. 2002. Questionnaire 1. Performance Research 7(4): 12-13.
Francombe, Ben. 2002. Falling off a wall: degrees of change in British actor training. Studies in Theatre and Performance 21(3): 176-187
Fuchs, Elinor. 1985. Presence and the revenge of writing: rethinking theatre after Derrida. Performing Arts Journal 26(7): 163-173.
Furnham, David. 2003. The Cinema of Comic Illusions
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Gaber, Ivor and Angela Phillips. 2000. Practising what we preach: the role of practice in media degrees — and journalism in particular. Journal of Media Practice 1: 49-54.
Garner, Stanton.1994. Bodied Spaces: phenomenology and performance in contemporary drama. Ithaca: Cornell University Press.
Goulish, Matthew. 2003. Lecture in the shape of a bridge collapsing. Presence. [4]
Gray, Carole and Ian Pirie. 1995. Artistic research procedure: research at the edge of chaos? Proceedings of 'Design Interfaces' conference, University of Salford, April 1995, volume 3: pp. 1-27.
Grossman, Peter Z. 1979. Talking with Merce Cunningham about Video. Dance Scope 13(2–3): 57.
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Harrison, A. 1978. Making and Thinking: a study of intelligent activities. Hassocks: Harvesters Press.
Heathfield, Adrian. 1997. Facing the other: the performance encounter and death. In Adrian Heathfield (ed.), Shattered Anatomies: Traces of the Body in Performance. Bristol: Arnolfini Live, n.p.
Heddon, Deirdre. 2002. Performing the archive: following in the footsteps. Performance Research 7(4): 64-77.
Hintikka, J. 1975. Practical versus theoretical reason - an ambiguous legacy. In S. Korner (ed.). Practical Reason. Oxford: Blackwell, pp. 83-102.
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Jameson, Frederic. 1987. Reading without interpretation: postmodernism and the video-text. In Nigel Fabb, et al (eds), The Linguistics of Writing: Arguments Between Language and Literature. Manchester: Manchester University Press, pp. 199-223.
Jones, Simon. 2003. The Courage of Complementarity. PARIP 2003 Keynote
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Kaye, Nick. 1994. Postmodernism and Performance. Basingstoke: Macmillan Press Ltd.
1994. Live Art: definition and documentation. Contemporary Theatre Review 2(2): 1-7.
1996. Art into Theatre: Performance Interviews and Documents. Amsterdam: Harwood Academic.
2000. Site Specifics: Performance, Place and Documentation. London: Routledge.
Kennedy, Barbara. 2002. Performative Spaces: the intersticial places of creative practice and research. Review in Journal of Media Practice 2 (2): 126-132
Kenny, A. 1966. Practical inference. Analysis 26 (3): 65-75.
Kershaw, Baz. 2002. Performance, memory, heritage, history, spectacle — The Iron Ship. Studies in Theatre and Performance 21(3): 132-149
Knudsen, Erik. 2003. Creation and I, me and my work. Journal of Media Practice 3 (2): 107-114.
2003. Doctorate by media practice. Journal of Media Practice 3 (3): 179-184.
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Lakoff, George and Johnson, Mark. 1995. Philosophy in the Flesh: the embodied mind and its challenge to Western thought. New York: Basic Books.
Loukes, Rebecca. 2003. Tracing bodies: researching psychophysical training for performance. Performance Research 8 (4): 54-60.
Lovell, Robb E. 2000. Computer intelligence in theatre. New Theatre Quarterly 63: 255-262.
Loveless, Richard and Goodman, Lizbeth. 1999. Live and media performances — the next frontier. Performance Research 4(2): 72-77.
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McAuley, Gay. 1994. The visual documentation of theatrical performance. New Theatre Quarterly 38: 192.
Macdonald, Ian. 2000. Related vocational qualifications in media practice education: an analysis of the rationale, and historical and political contexts. Journal of Media Practice 1: 12-22.
McHoul, Alec and Lucy Niall. 1994. That film, this paper — its body. Southern Review 27(3): 303-322.
McLaughlin, Cahal. 2003. Collaboration as research: testimonies from the apartheid era. Journal of Media Practice 3 (3): 171-177.
Martin, Jacqueline and Willmar Sauter, eds. 1995. Understanding Theatre: Performance Analysis in Theory and Practice. N.p.: Almqvist and Wiksell.
Mellencamp, Patricia. 1985. Seeming, seeming: the disappearing act. The Drama Review 37(3): 141-154.
Melrose, Susan. 2002. Entertaining other options: Restaging 'theory' in the age of practice as research. [5]
2002. Please adjust your set. [6]
2002. Textual turns — and a turn-up for the books. [7]
2003. Before the posthuman can take [its] place: performing place and person in the early 21st century. Presence [8]
Melrose, Susan (ed.). 2003. Virtuosity and Performance Mastery Symposum. [9]
Melzer, Annabelle. 1995. 'Best betrayal': the documentation of performance on video and film. New Theatre Quarterly 42: 147-150.
1995. 'Best betrayal': the documentation of performance on video and film. New Theatre Quarterly 43: 259-274.
Miller, Jonathan. 1986. Subsequent Performances. London: Faber and Faber.
Mock, Roberta, ed. 2000. Performing Processes: Creating Live Performance. Bristol: Intellect.
Mock, Roberta, Franc Chamberlain, Simon Ellis, Nicholas Till and John C Whelan. 2004. Reflections on practice as research following the PARIP conference, 2003. Studies in Theatre and Performance 24 (2): 129-141.
Moggan, Julie. 2003. Reflections of a neophyte: a university versus a broadcast context. Journal of Media Practice 3 (2): 97-106.
Morgan, Richard Huw. 2003. In strictest confidence — 21 anti-algorithmic excerpts
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Novarina, Valère. 2001. The debate with space. The Drama Review 169: 118-127.
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Pakes, Anna. 2001. Dance Interpretation and the Cultural Institution: exploring the condition(s) of British and French Contemporary Dance in the 1990s. Unpublished PhD thesis. London: Laban / City University.
2003. Original embodied knowledge: the epistemology of the new in dance practice as research. Research in Dance Education 4 (2): 127-149.
Pavis, Patrice. 1982. Languages of the Stage: Essays in the Semiology of the Theatre. New York: PAJ Publications.
2001. Theatre studies and interdisciplinarity. Theatre Research International 26(2): 153-163.
Pearson. 1997. Special worlds, secret maps: a poetics of performance. In A. M. Taylor (ed.), Staging Wales. Cardiff: University of Wales Press, pp. 85-99.
Pearson, Mike and Michael Shanks. 2000. Theatre/Archaeology. New York and London: Routledge.
Pearson, Mike and Julian Thomas. 1994. Theatre/Archaeology. The Drama Review 38(4): 133-161.
'Performing autobiography' issue of Women and Performance: a Journal of Feminist Theory. 1999.
Phelan, Peggy. 1993. Unmarked: the Politics of Performance. London: Routledge.
Piccini, Angela. 2002. Viewpoint on Mackey’s ‘Drama, Landscape and Memory: to be is to be in place’. Research in Drama Education 7 (2): 239–242.
2003. An historiographic perspective on practice as research. Studies in Theatre and Performance 23 (3).
2003. Practice as Research in Performance: from epistemology to evaluation. Journal of Media Practice: 4 (2): 113-123. (with Baz Kershaw)
Pitches, Jonathan. 2003. Tracing the living link: documentary complexity in the archive of biomechanics
Popat, Sita. 2003. The Online Devising Process: Creating theatre through Internet collaboration, Studies in Theatre & Performance 23 (2): 87-105.
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Rabey. David Ian. 2000. On being a Shakespearean dramatist: an approach to The Back of Beyond. Theatre Research International 25(3): 284-294.
Rae, Paul. 2003. Re: invention — on the limits of reflective practice
Reason, Matthew. 2003. Archive or memory? The detritus of live performance. New Theatre Quarterly 73: 82-89.
Reinelt, J. forthcoming. The Politics of Discourse: Performativity Meets Theatricality. Unpublished manuscript.
Ridout, Nicholas. 2002. Two parrots and an answering machine: some problems with knowledge and memory. Performance Research 7(4): 42-47.
Rosenthal, Rachel. 2001. Zone. The Drama Review 169: 31-58.
Rozik, Eli. 1999. The corporeality of the actor's body: the boundaries of theatre and the limitations of semiotic methodology. Theatre Research International 24(2): 198-211.
Rye, Caroline. 2000. Living Cameras: A Study of Live Bodies and Mediatized Images in Multi-Media Performance and Installation Art Practice. Unpublished PhD. Edinburgh: Napier University.
2003. Incorporating practice: a multi-viewpoint approach to performance documentation. Journal of Media Practice 3 (2): 115-123.
2003. Video writing
Ryle, G. 1949. The Concept of Mind. London: Hutchinson.
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Salt, Barry. 2002. Practical film theory and its application to TV series drama. Journal of Media Practice 2 (2): 98-113.
Saxton, Juliana and Miller Carol (eds). 1998. Drama and Theatre in Education: the research of practice, the practice of research. London: IDEA Publications.
Schieffelin, Edward. 1998. Problematizing performance. In Felicia Hughes-Freeland (ed.), Ritual, Performance, Media. London: Routledge.
Schön, Donald A. 1983. The Reflective Practitioner: How Professionals Think in Action. Temple Smith.
Searle, J. R. 2001. Rationality in Action. Cambridge, MA: MIT Press.
Shevtsova, Maria. 1999. Bells and alarm clocks: theatre and theatre research at the millennium. Theatre Research International 24(1): 98-108.
2001. Social practice, interdisciplinary perspective. Theatre Research International 26(2): 129-136.
Smart, Jackie. 2001. The disruptive dialogue of dance for the camera. Journal of Media Practice 2: 37-47.
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Thomson, Peter (compiler). 2003. Practice as research. Studies in Theatre and Performance 22 (3): 159-180.
Tschumi, B. 1994. The Manhattan Transcripts. London: Academy Editions.
Thrift, Nigel and John-David Dewsbury. 2000. Dead geographies — and how to make them live. Environment and Planning D: Society and Space 18: 411-432.
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Varney, Denise and Rachel Fensham. 1998. Documenting and disseminating performing arts research. In Alison Richards and Angela O'Brien (eds), Proceedings of the National Symposium on Research in the Performing Arts. Melbourne: School of Studies in Creative Arts.
2000. More-and-less-than: liveness, video recording, and the future of performance. New Theatre Quarterly 61: 88-96.
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Wagner, Anne M. 2000. Performance, video and the rhetoric of presence. October 91: 59-80.
Way, Ruth. 2003. South west forum presentation
Wayne, Mike. 2001. Problems and possibilities in developing critical practice. Journal of Media Practice 2: 30-36.
Welton, Martin. 2003. Against inclusivity: a happy heresy about theory and practice. New Theatre Quarterly 19 (4): 347-351.
2003. Practice as research and the mind-body problem
Williford, Christa. 2000. A computer reconstruction of Richelieu's Palais Cardinal Theatre, 1641. Theatre Research International 25(3): 233-247.
Wilson, Michael. 2003. Revisiting Brecht: preparing Galileo for production. Studies in Theatre and Performance 22 (3): 145-157.
Woods, David. 2002. The grove of academe. Total Theatre 14 (4): 16-18.
Wright, Fiona. 2002. uncertain bodies: fragments. Performance Research 7 (4): 88-91.
2003. slowly kissing down with tears
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Zarrilli, P. 2002. Negotiating performance epistemologies: knowledges 'about', 'in' and 'for'. Studies in Theatre and Performance 21: 31-46.
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