Materials and Materiality: How do they Matter?
We are delighted to announce the programme for this year’s TaPRA Postgraduate Symposium Materials and Materiality: How do they Matter?
Attendance is free to TaPRA members, and £10 for non-members. If you would like to attend, please email email@example.com by Friday 2nd of February.
9.30 – 10.00 Registration
10.00 – 10.15 Welcome (Studio 4)
10.15 – 11.45 Parallel Panels
Panel 1 – Materialising Perspectives (Studio 2)
Material Culture as an Alternative Lens: Women’s Textile Work Onstage and Backstage in Pantomime Productions of Sleeping Beauty
Kitty Gurnos-Davies, University of Oxford
Vulnerability that matters: Transformation of Jan Fabre’s Power of Theatrical Madness (1984) into Power of Solidarity with the LGBTQ Community
Sylvia Solakidi, University of Surrey
Failure That Matters: Homophobic Violence & Practices of Queer Survival
Joe Parslow, Royal Central School of Speech and Drama
Panel 2 – Discursive Materialities (Studio 4)
Can the Fresh Perspective Provided by Materiality Help to Resolve the Contradiction Between the Ephemerality of Performance and the Importance of Documenting it?
Daniel Shipman, University of Sheffield
Documentary and Dissent: The Material Artefact in the Theatre of Teatr.doc
James Rowson, Royal Holloway, University of London
The Matter’s in My Head and in My Heart’: As You Like It’s Dramatic Materiality
William Kroeger, University of Oxford
11.45 – 12.00 Coffee Break
12.00 – 13.15 Parallel Panels
Panel 3 – Resisting Material Conditions (Studio 2)
Stephanie Spindler, Chelsea College of Art
Towards a (New) Dramaturgy of Knowledge
Clio Unger, Royal Central School of Speech and Drama
(co-written with Amir Farjoun, The Graduate Center, CUNY)
Performing Pointlessness: The Common Ground between Kurt Schwitters’ Leise and his Pointless Collage
Heather Ross, Newcastle University / The Hatton Gallery
Panel 4 – Immaterial Agents (Studio 4)
Material form from immaterial content: Light and architecture as mediums in contemporary scenography
Raphaé Memon, Bartlett School of Architecture, University College London
Light-as-Performer and the Hybrid Human Collaborator
Linda (Lyn) Cunningham
Drawing Notation: making the immaterial material
Meg Cunningham, University of Surrey
13.15 – 14.30 Lunch
14.30 – 14.45 Post-Lunch Performance
Rohanne Udall and Paul Hughes, Timber & Battery
14.45 – 16.00 Parallel Sessions
Panel 5 – Ephemeral Materials (Studio 2)
Mixed Fibres: Human and Nonhuman Collaborations
Ashleigh Griffith, University of Chichester
Iconography and Identity in Contemporary English Barn Dance Publicity
Chloe Middleton-Metcalfe, Roehampton University
Panel 6 – Immaterial Remains (Studio 4)
Rituals of Unbelonging in Unmade, Untitled
Carmen Wong, University of Warwick
The Closeness Hypothesis: Towards a Theory of Significance in One-to- One Performance
Lucy Smith, University of Sheffield
we are all made of stars: A Dialogue
Simon Bowes, University of Greenwich and johnsmith
16.00 – 16.30 Coffee Break
16.30 – 17.30 SCUDD PG Subcommittee workshop (Studio 4)
Materialising our research ideas as movements: Top tips on publication, dissemination during and just-post PhD
Convenor: Aylwyn Walsh, University of Leeds
Speakers: Shane Boyle, QMUL and Johanna Linsley, Roehampton University
Call for Papers and Presentation for
TaPRA Postgraduate Symposium 2018
Materials and Materiality: How do they matter?
9 February 2018
Royal Central School of Speech and Drama
Postgraduates and early career researchers are invited to contribute to the 2018 Theatre and Performance Research Association (TaPRA) Postgraduate Symposium titled ‘Materials and Materiality: How do they matter?’. The symposium will take place at Central Bankside, Royal Central School of Speech and Drama on Friday, 9 February 2018 and seeks to investigate the roles and significance of the various materials that are around us and that make up or are negotiated in theatre and performance practice and research.
Tim Ingold in the Ecology of Materials (2012) goes back to Aristotle, who establishes that any thing is a compound of matter and form, which are brought together in the act of its creation. For Ingold, the process of making begins with two ingredients, a formless lump of raw material and a ‘form in mind’ (Ingold 2012: 432). The process ends when form and material are united into a complete artefact (Ibid.). Whether active and with agency or imposed and designed, as researchers and practitioners we are surrounded by and constantly engage with materials. Ingold notes, ‘the builder, the gardener, the cook, the alchemist, and the painter are not so much imposing form on matter as bringing together diverse materials and combining or redirecting their flow in the anticipation of what might emerge’ (Ingold 2010: 94). So how do we, as makers of performance, practice and research shape and design materials? How do materials come together and form something else? What possibilities they might reveal to us?
More importantly, for Jane Bennett (2010) nothing acts alone, every thing’s agency and efficacy depends ‘on the collaboration, cooperation, or interactive interference of many bodies and forces (21). So how might materials prompt us to reconsider others, the world and ourselves? How are we intertwined with materials and assemblages? Various approaches to materialism have identified the importance of matters, materials and things. While some of the more recent concerns of materialism have been tied to ecology and ecomaterialism, we seek to draw from this viewpoint and use it as a benchmark to explore the broader ethics, cultural and social practices through our engagement with the concept of materials. What implications might these signal for art and performance making, and more broadly for politics, and everyday life? Is the performance space (even when virtual) therefore the medium for the materialisation of performance theory?
Building on themes and conversations that emerged from the TaPRA Conference in Salford in September 2017 and last year’s TaPRA PG symposium in Leeds, we ask: how does our interaction with the material, and the immaterial, shape our research? As postgraduate and early career researchers making, working and living in a world where resources – whether financial, natural and cultural – are becoming ever more limited – how do we make our practice and research matter?
We invite presentations that engage with the theme of ‘Materials and Materiality’ in all forms of theatre practice, performance, performance studies, formal and informal performer training, stagecraft and theatre/drama in education. Themes might include, but are not limited to:
- Natural and cultural objects.
- Energy, force and matter.
- Origin, originality and novelty; artificial materials; copy and reproduction; fetishism.
- Substance and physicality, ideals and consciousness. Graspability and imagination.
- The material and immaterial; the human and the non-human.
- The materialisation (or de-materialisation) of performance theory in performance space.
- Scenographic materials: light, sound, video, architecture.
- Archival and historic materials; the histories of materials; access to materials.
- Material and media; hybrids; the process of making; formation, deformation, reformation.
- Vitality, ecology, environmentalism, sustainability.
- Cultural materialism, historical materialism, new materialism, post-materialism.
- Materials for/of performance, found materials, devising materials.
- Assemblages, changing materials, agency, objectivity and subjectivity.
- Material tendencies; exchanges between bodies and materials; material relations; material conditions.
- Collaboration, immersion, improvisation, composition.
- The materiality of body, of voice, of text, of play, of story, of performance, of research, of knowledge, of thought.
- Implications and limitations of materials. The invisible, the inaudible, the unexplored, the unimagined, the unclaimed, the uncovered….
Abstracts will also be considered towards publication in JAWS, The Journal of Arts Writing by Students. The award winning, international journal, published by Intellect Books (http://www.intellectbooks.co.uk/journals/view-Journal,id=243/), will aim to publish a number of papers as well as a selection of abstracts in a forthcoming issue. JAWS is the only arts journal entirely written, edited and peer reviewed by current students and first year graduates. Publishing across art and design at a postgraduate level, JAWS acts as writing-studio. A space for early-stage academics to explore and share ideas and flex their peer review muscles over emerging themes and trends in arts research.
Papers (15mins), provocations (10mins) and alternative presentations from postgraduates at all levels of study, postdoctoral researchers and early career academics, are welcome. The symposium is free for TaPRA members and £10 for non-members; this includes membership for the academic year 2017/18. All membership must be paid online via the TaPRA website prior to the symposium: http://tapra.org/membership/
Abstracts should be 250 words in length. All abstracts should be sent to firstname.lastname@example.org. When submitting your abstract, please also include a short biography (no more than 50 words) and a brief note on technical requirements (if any) in the same document. Those wishing to engage with alternative approaches to presenting research, such as performance lectures, are asked to include an additional 100 words detailing your intended presentation methods. All correspondence should be directed to Yaron Shyldkrot, Cathy Sloan and Adelina Ong via email@example.com
The deadline for submitting your proposal is 12pm (Midday) on Thursday 4 January 2018. We will be unable to accept submissions after this deadline. Notifications will be sent by 12 January 2018.
If you would like to be considered for a limited number of travel bursaries, up to the value of £25, then please specify that this is the case in your submission email. Priority will be given to those travelling farthest.
Yaron Shyldkrot, Cathy Sloan and Adelina Ong
TaPRA PG symposium organisation team