The following 8 experts are listed against your chosen search criteria of:
Prof Paul Heritage
My research is predominantly concerned with the uses and application of theatre and drama in the criminal justice system. Other areas of interest include gay and lesbian performance and Brazilian theatre in relation to culture.
Prof Lois Weaver
My work mainly concerns feminist and lesbian theatre, as well as the use of applied drama to explore ideas of the body, gender and sexuality in performance.
Prof Susan Harris
I am a specialist in French cinema and theatre studies and my interests range from the socio-cultural (spectatorship, cultural policy, national identity, festival culture, street theatre), to textual analysis (essays on the work of directors including Bertand Blier, François Truffaut, Claude Miller and Erik Zonca), to work on genres and styles (comedy, performance theory, aesthetics, stardom). My monograph Bertrand Blier (MUP, 2001) attempts to identify strategies for negotiating some of the more subversive aspects of popular French cinema, and uses a Bakhtinian framework to investigate and challenge established positions with regard to female performance and comic narrative.
Dr Aoife Monks
I'm a theatre historian who studies the peculiarities of acting, in the form of star and virtuoso performances, 19th century Stage Irish and blackface minstrel performers, the role of fashion and costume in the star system, sentimentality, superstition and backstage cultures at the theatre, nudity onstage, and acting training and practice. I'm also interested in various forms and histories of popular Irishness, such as the work of Michael Flatley, Riverdance, St Patrick's Day Parades, Dion Boucicault, nationalist speeches from the dock and the Irish ballad. I write on performance and the law, examining how the law is performed onstage, and how the law is itself theatrical. I have a particular expertise in theatre costume, considering its relationship to systems of fashion, dress reform, archives and museums, actorly superstition and of course, asking the most important question: 'what should ghosts wear in performance?'
Prof Nicholas Ridout
In my research I am interested in developing a political understanding of the theatrical event, an am influenced by Middle Eastern and Arab politics. This means thinking about theatre as an instance of cultural production, as an affective experience and as a mode of social organisation. The main focus of my work so far has been on the theatre of modern capitalism, in which people spend their leisure time sitting in the dark watching other people working in the light. I have also written about opera, about experimental theatre in Europe, and, for over ten years I have found constant inspiration in the work of the Italian theatre company, Socìetas Raffaello Sanzio.
Dr Dominic Johnson
I am an expert in histories and practices of performance art and live art, including practices in performance that emerge from histories of visual art and experimental theatre since 1960.
Dr Peter Howarth
Twentieth-century poetry, particularly modernism (Eliot, Auden, Stevens, Moore), WW1 poetry, and poetry in performance (theatre, confessionals, liturgy, avant-gardes, soundtracks, pop).
Dr Martin Welton
My research centres around two broad thematic concerns ? movement and the senses ? in relation to the theory and practice of contemporary performance. I am interested in the ways in which theatre practitioners and audiences 'make sense' of the unusual ways that they are sometimes invited to look, feel or listen.