reading

This is the formal reading list for DPaR.

Core reading

  • Nelson, Robin. 2013. Practice as Research in the Arts: Principles, Protocols, Pedagogies, Resistances. Basingstoke: Palgrave Macmillan.

Essential reading

  • Allegue Fuschini, Ludivine. 2009. Practice-as-Research: in Performance and Screen. Basingstoke: Palgrave Macmillan.
  • Barrett, Estelle, and Barbara Bolt. 2010. Practice as Research: Approaches to Creative Arts Enquiry. London: I. B. Tauris.
  • Freeman, John. 2010. Blood, Sweat & Theory: [Research Through Practice in Performance]. [Faringdon]: Libri Publishing.
  • Kershaw, Baz, and Helen Nicholson. 2011. Research Methods in Theatre and Performance. Vol. Research methods for the arts and humanities. Edinburgh: Edinburgh University Press.
  • Smith, Hazel, and R T Dean. 2009. Practice-Led Research, Research-Led Practice in the Creative Arts. Vol. Research methods for the arts and humanities. Edinburgh: Edinburgh University Press.

Recommended reading

  • Alvesson, Mats, & Jörgen Sandberg. 2013. Constructing research questions: doing interesting research. London: Sage Publications.
  • Auslander, Philip. 2008. Liveness: Performance in a Mediatized Culture. London: Routledge.
  • Bannerman, Christopher, Joshua Sofaer, and Jane Watt. 2006. Navigating the Unknown: the Creative Process in Contemporary Performing Arts. Edited by Christopher Bannerman, Joshua Sofaer, and Jane Watt. London: Middlesex University Press.
  • Barbour, Karen. 2011. Dancing Across the Page: Narrative and Embodied Ways of Knowing. Bristol: Intellect.
  • Berger, John. 2008. Ways of Seeing. Vol. Penguin modern classics. London: Penguin.
  • Biggs, Michael. 2003. “The Role of the Work in Research, Presentation to the PARIP 2003 Conference.” Bristol University. Accessed September 13. http://www.bris.ac.uk/parip/biggs.htm.
  • Blaxter, Loraine, Christina Hughes, and Malcolm Tight. 2006. How to Research. Bristol, PA, USA: Open University Press.
  • Bottoms, Stephen J, and Matthew Goulish. 2007. Small Acts of Repair: Performance, Ecology, and Goat Island. London: Routledge.
  • Carr, David. 1987. “Thought and Action in the Art of Dance.” British Journal of Aesthetics 27 (4) (September 12): 345–357.
  • Connolly, Mary Kate, ed. 2012. Throwing the Body Into the Fight: a Portrait of Raimund Hoghe. London: Intellect.
  • Council, Australian Dance. “Brolga.” Jamison ACT, Australia: Australian Dance Council-Ausdance Inc.
  • da Silva, João, Emilie Gallier and Konstantina Georgelou. 2014. Inventing futures: doing and thinking artistic research with(in) the Master of Choreography Programme of ArtEZ. Arnhem: ArtEZ
  • Edmonds, David, and Nigel Warburton. 2012. Philosophy Bites Back. Oxford: Oxford University Press.
  • Etchells, Tim. 1999. Certain Fragments: Contemporary Performance and Forced Entertainment. London: Routledge.
  • Freeman, John. 2002. “Writing the Self: the Heuristic Documentation of Performance.” Studies in Theatre and Performance 22 (2) (September 12): 95–106.
  • Goulish, Matthew. 2000. 39 Microlectures: in Proximity of Performance. London: Routledge.
  • Grehan, Helena. 2009. Performance, ethics and spectatorship in a global age. Basingstoke: Palgrave Macmillan
  • Heathfield, Adrian, and Hugo Glendinning. 2004. Live: Art and Performance. London: Tate Pub.
  • Johnson, Mark. The Meaning of the Body: Aesthetics of Human Understanding [Paperback]. University of Chicago Press; Reprint edition (14 Nov 2008).
  • Kaye, Nick. 2000. Site-Specific Art: Performance, Place and Documentation. London: Routledge.
  • Lepecki, Andre. 2004. Of the Presence of the Body: Essays on Dance and Performance Theory. Hanover, N.H.: Wesleyan University Press.
  • Libeskind, Daniel, Jeffrey Kipnis, and Anthony Vidler. 2001. Daniel Libeskind: the Space of Encounter. London: Thames & Hudson.
  • McFee, Graham, and Chelsea School Research Centre. 1999. Dance, Education and Philosophy. Vol. Chelsea School Research Centre edition. Oxford: Meyer & Meyer Sport.
  • Melrose, Susan. 2002. “Entertaining Other Options: Restaging Theory in the Age of Practice as Research.” Sfmelrose.U-Net.com. Accessed September 13. http://www.sfmelrose.u-net.com/inaugural.
  • Moon, Jennifer A. 2004. A Handbook of Reflective and Experiential Learning: Theory and Practice. London.
  • Moon, Jennifer A. 2006. Learning Journals: a Handbook for Reflective Practice and Professional Development. New York, NY: Routledge.
  • Moon, Jennifer A. 2007. Critical Thinking. New York, NY: Routledge.
  • Moon, Jenny. 2013. “Reflective Writing – Some Initial Guidance for Students.” E-Radiography.Net. Accessed September 12. http://www.e-radiography.net/projects/relective_writing.htm.
  • Nancy, Jean-Luc. 2008. Corpus. New York: Fordham University Press.
  • Pakes, Anna. “Original Embodied Knowledge: the Epistemology of the New in Dance Practice as Research.”
  • Peeters, Jeroen, ed. 2010. Are We Here Yet? Dijon: Les presses du réel.
  • Reeve, Sandra. 2011. Nine Ways of Seeing a Body. Axminster: Triarchy.
  • Rethorst, Susan. 2012. A Choreographic Mind: Autobodygraphical Writings Kinesis 2. Helsinki: Teatterikorkeakoulu
  • Rose Riley, Shannon, and Lynette Hunter. 2009. Mapping Landscapes for Performance as Research: Scholarly Acts and Creative Cartographies. Basingstoke: Palgrave Macmillan.
  • Sabisch, Petra. 2011. Choreographing Relations: Practical Philosophy and Contemporary Choreography in the Works of Antonia Baehr, Gilles Deleuze, Juan Dominguez, Félix Guattari, Xavier Le Roy and Eszter Salamon. München: Epodium. Saltzman, Lisa. 2006. Making Memory Matter. University Of Chicago Press.
  • Saltzman, Lisa. 2006. Making Memory Matter. Chicago: University of Chicago Press
  • Sawyer, R Keith. 2006. Explaining Creativity: the Science of Human Innovation. Oxford: Oxford University Press.
  • Schwab, Michael & Henk Borgdorff. 2012. Exposition of Artistic Research: Publishing Art in Academia. Dordrecht: Leiden University Press
  • Schwartz, Barry, and Kenneth Sharpe. 2011. Practical Wisdom. New York: Riverhead Trade.
  • Smith, Hazel. The Writing Experiment : Strategies for Innovative Creative Writing.
  • Spångberg, Mårten. 2011. “Nice Girlfriend Choreography.” Spangbergianism: a State of Mind. June 3. http://spangbergianism.wordpress.com/2011/06/03/nice-girlfriend-choreography/.
  • Stoller, Paul. Sensuous Scholarship. Vol. Contemporary ethnography. Philadelphia: University of Pennsylvania Press.
  • Thomson, Peter. 2003. “Notes and Queries: Practice as Research.” Studies in Theatre and Performance 22 (3) (September 12): 159–180.
  • Thrift, Nigel J. 2008. Non-Representational Theory: Space, Politics, Affect. Vol. International library of sociology. London: Routledge.
  • Watton, Pete, Jane Collings, and Jenny Moon. “Reflective Writing: Guidance Notes for Students.”
  • Wesseling, Janneke. 2011. See It Again, Say It Again. Amsterdam: Valiz.
  • Zarrilli, Philip. 2001. “Negotiating Performance Epistemologies: Knowledges ‘About’, ‘in’ and ‘for’.” Studies in Theatre and Performance 21 (1) (September 12): 31–46.
  • “Editorial.” 2013. “Editorial.” Jar-Online.Net. Accessed September 12. http://www.jar-online.net/index.php/issues/editorial/485.
  • “Journal of Writing in Creative Practice.” “Journal of Writing in Creative Practice.”
  • “National Review of Live Art Video Archive.” 2013. “National Review of Live Art Video Archive.” Bris.Ac.Uk. Accessed September 12. http://www.bris.ac.uk/nrla/.
  • “Research Catalogue – an International Database for Artistic Research.” 2013. Researchcatalogue.Net. Accessed September 12. http://www.researchcatalogue.net/.

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