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. Twenty-eight writers and performance poets were interviewed. Eight of these could also be described as ‘cultural agents’ (CAs) in virtue of their role as promoters or facilitators of the artists’ creative output. The participants were ‘interviewed’ individually and were well known to the ‘interviewer’. The relationship between the interlocutors was as much institutional in a sociologically discursive sense as it was personal. The context ‘positioned’ them. Whilst positioning themselves in relation to the interlocutor as individuals, they were knowingly fulfilling the
: Well, then. And how do I begin? You are very attractive. Most attractive. 1 So begins Ingmar Bergman’s screenplay Trolösa ( Faithless , directed by Liv Ullmann, 2000). This dialogue, which is a prologue to the story, is a playful depiction of the author’s creative process in developing a fictional character. Step by step, ‘the voice’ in the scene is given a body, name, and characteristics. In time, she becomes the character named Marianne. How faithfully does this scene
The Creative Interruptions project brought researchers from five UK universities and several non-university-based collaborators together to explore the political role of the arts and creativity within disenfranchised communities. 1 At its heart was the concept of co-creation, the process of producing and collecting knowledge in collaborative ways. 2 The Introduction and Chapter 1 in this volume reveal the scope and context of Creative
to seek a new canon for the curriculum by giving primacy to those texts that exhibited or made creative use of the themes that animate contemporary investigation, while sternly avoiding the tendency to say that Wordsworth must be liberally represented and other texts must often give way? I shall act, for the moment, in this spirit. However, a modifying assumption is at work in my construction, and it is a practical one: pressure on time and space will lead to an emphasis on texts where more than one of the desired themes can be exhibited at once. But this
This book explores the development of Robert Lepage’s distinctive approach to stage direction in the early (1984–94) and middle (1995–2008) stages of his career, arguing that globalisation had a defining effect in shaping his aesthetic and professional trajectory. It combines examination of Lepage’s theatremaking techniques with discussion of his work’s effects on audiences, calling on Lepage’s own statements as well as existing scholarship and critical response. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. As such, it offers an unprecedented conceptual framework, drawing together what has previously been a scattered field of research. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage’s productions. These aspects include the relationship of the local (in Lepage’s case, his background in Québec) to the global; the place of individual experience within global late modernity; the effects of screen media on human perception; the particular affect of ‘feeling global’; the place of branding in contemporary creative systems; and the relationship of creative industries to neoliberal economies. Making theatre global: Robert Lepage’s original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates with an interest in the application of theoretical approaches to theatrical creation and reception, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the late twentieth and early twenty-first centuries.
7 Collage-making for interdisciplinary research skills training in Northern Ireland Shelley Tracey and Joe Allen Setting the scene T his chapter shares our practice of collage-making for identifying and extending ideas for research in a course entitled Creative Thinking and Problem Solving (CTPS), part of a postgraduate research training programme. The programme provides a range of opportunities for doctoral students across the university to develop skills for designing, writing and presenting their dissertations and managing the demands of a PhD process
. In Figure 5.1 , the sector key shows where industry expertise was drawn from in the two most recent productions. Broadly, the three industries and their contrasting influence and input can be summarised as follows: the Film sector licensed original IP, a legal and distribution infrastructure, and production management; the Events sector provided expertise in logistics, site infrastructure and site management; and the Theatre sector provided the most directly creative elements including performance, production design, video, sound and lighting design. There
challenges the myth of the researcher as a distant outsider, debunking the researcher’s privilege of rationality and positivism. We argue the potential of using alternative creative processes for conducting research in the academy, focusing in particular on the crucial role of the research adviser. We also believe arts-based qualitative research can engage all of our senses and bring forth extra-rational knowledge that has the capacity to bridge cultural differences and promote transformation and social justice, in agreement with Finley (2008: 72) who argues ‘at the heart
alignment with creative phenomena not held to be typical of Australian colonial history and not even, in a certain sense, appropriate to historical enquiry. The parti pris was obvious: documenting and interpreting the different forms of non-communication preserved in colonial place names, in cartographic conventions, in the OuLiPo-like word games of the amateur ethnolinguistic wordlists, I was establishing a bridgehead for myself, where ‘beginning again’ was presented as an overdue collective responsibility whose object was to emancipate creativity: evidence of a
Santiago Waria: Pueblo Grande de Wigka is a site-specific theatre play that was realised in the context of interdisciplinary research in which history, anthropology and urban cultural studies were articulated, eventually developing a montage about Mapuche life in the city of Santiago. The term ‘site-specific’ is used in the arts for works that are created in , for and through a specific place, most often the same in which they are then exhibited. During the creative process, both