learning outcomes

I thought it might be useful to drop in the module learning outcomes here – just fyi, but also to help give you a sense (now that we are almost done) of the various foci of this module:

  • Developed an awareness of recent debate within the field of practice as research
  • Acquired the skills with which to question the nature of research in relation to performance and creative practice
  • Demonstrated ability in the articulation and documentation of process towards the creation of choreography and performance
  • Developed their ability to embody ideas and research questions in performance and/or choreographic practice


some spaces to search

Seth Godin wrote this on a blog post called Did you do the reading?:

The reading isn’t merely a book, of course. The reading is what we call it when you do the difficult work of learning to think with the best, to stay caught up, to understand.

The reading exposes you to the state of the art. The reading helps you follow a thought-through line of reasoning and agree, or even better, challenge it. The reading takes effort.

more reading re documentation, performance ontology, liveness, possibilities and responsibilities

  • Reason, Matthew. 2006. Documentation, Disappearance and the Representation of Live Performance. Palgrave Macmillan.
  • Bottoms, Stephen J, and Matthew Goulish. 2007. Small Acts of Repair: Performance, Ecology, and Goat Island. London: Routledge.
  • Etchells, Tim. 1999. Certain Fragments: Contemporary Performance and Forced Entertainment. London: Routledge.
  • Phelan, Peggy. 1993. Unmarked. London: Routledge.
  • Auslander, Philip. 1999. Liveness: Performance in a Mediatized Culture. London: Routledge.
  • Heathfield, Adrian. 2012. “Then Again.” In Perform, Repeat, Record, 27–35. London: Intellect Books.
  • Freeman, John. 2003. Tracing the Footprints. Lanham, MA: University Press of America.
  • Piccini, Angela, and Caroline Rye. 2009. “Of Fevered Archives and the Quest for Total Documentation.” In Practice-as-Research in Performance and Screen, edited by Ludivine Allegue, Simon Jones, Baz Kershaw, and Angela Piccini, 34–49. London: Palgrave MacMillan.
  • Kunst, B. (2012) ‘The Project Horizon: On the Temporality of Making’ http://www.manifestajournal.org/issues/regret-and-other-back-pages/project-horizon-temporality-making
  • Rye, C. (2003). Incorporating practice: A multi-viewpoint approach to performance documentation. Journal of Media Practice, 3(2), 115-123.
  • Ingold, T (2013). Making: Anthropology, Archaeology. Art and Architecture. London: Routledge.
  • Heathfield, Adrian, and Tehching Hsieh. 2009. Out of Now. London: Live Art Development Agency.

roles of documentation

A brief list of potential roles of documentation. Note that the list does not consider or question the appropriateness of the word documentation.

Roles of documentation

  • Evidence (related to dissemination)
  • To stimulate memory of the performance event (Phelan, 1993)
  • Pressure to develop reproducible forms
  • Interest in developing reproducible forms
  • New audiences
  • Economic benefit
  • Professional benefit
  • Continue and diversify creative processes
  • Increase cultural authority (Lycouris, 2000)
  • To foreground the disappearance of performance
  • To prevent performance disappearing (preservation)
  • To question the disappearance of performance
  • To acknowledge performance’s incompleteness (Lycouris, 2000)
  • To trace or map
  • Reflection
  • Understanding
  • Evocation


being curious

These are Emilyn’s notes and questions from today.

Phenomenological Enquiry. Or – Being Curious:

  • What do you notice when you do that?
  • What happens when you do that?
  • Is there a history that comes with that?
  • What is the memory you have with that?
  • What happens next?
  • What happens if you do the opposite?
  • Can you exaggerate that?
  • What happens now?
  • Can you describe what is happening?
  • As you talk about it, what else is happening?
  • What is not moving?
  • How do you do that?
  • Teach me how you do that?

Lines of flight

Multiplicities are defined by the outside: by the abstract line, the line of flight or deterritorialization according to which they change in nature and connect with other multiplicities.

Deleuze & Guatarri 1980 A Thousands Plateaus p. 9


  • What meaning do you make of this?
  • What wider contextual ideas emerge?
  • What do you take from this?
  • What is no longer useful to you in your practice?
  • How does this change my practice?

baz has gone missing

It would appear that Baz Kershaw has gone missing. Anyone seem him? He’s a lovely man, looks like this:


Seriously though, the reference is missing from key text section from library so apologies for this.

Kershaw, B. (2009). Practice-as-Research: An Introduction. In L. Allegue, S. Jones, B. Kershaw, & A. Piccini (Eds.), Practice-as-Research in Performance and Screen (pp. 1–16). London: Palgrave Macmillan.

I’ll sort it out as soon as possible but in the meantime if you have one of the borrowing copies can you return it/them asap so that others can take a look?