Practice & Performance
The Centre for Practice is a forum for advancing creative, critical, and theoretical understanding of artistic practice in the contemporary arts. Scholars pursue research-based practice across a range of disciplines, including Art, Design, Film, and Performance. The centre strongly believes that practice-based research has a transformative impact on our understanding of creativity and culture.
Many of our researchers engage in practice-based research using creative practice as a tool to generate and communicate new knowledge of the world around us. Our research themes include:
- Mobilities research, borders, and migration
- Health and Creativity
- Creativity, Environment and Social Change
View our latest publications
Restaging Feminism by Elaine Aston
From an author with a pioneering and thirty-year-long commitment to the study of feminism and British theatre, Restaging Feminisms is for an intergenerational feminist-theatre readership: for those who are discovering relations between feminism and theatre for the first time and those re-encountering the feminist dynamics and their renewed resonance on the contemporary British stage.
Royal Court: International, E. Aston & M. O'Thomas
The first-ever full-length study of the Royal Court Theatre's International Department, covering the theatre's unique programming of international plays and seasons, its London-based residences for writers from overseas, and the legacies of workshops conducted in more than 30 countries.
Drawing Investigations by S. Casey & G. Davies
How does drawing add shape to ideas? How does the artist accommodate to challenges and restraints of a particular environment? To what extent is a drawing complementary and continuous with its subject and where is it disruptive and provocative? Casey and Davies address these questions while focusing on artists working collaboratively and the use of drawing in challenging or unexpected environments.
'A choreography of the senses' by Pip Dickens
Pip Dicken’s chapter reflects on the painter's studio as an environment organized to control and adjust the senses. Every artist has their own unique space, method of working and creative thought processes. The chapter attempts to provide glimpses, albeit through the veiled window of the studio, of what the senses contribute, how they are being organized and deployed, and if this process is directed consciously or subconsciously.A choreography of the senses
Glitch Poetics by Nathan A. Jones
Glitch Poetics figures glitch radically as a key aesthetic condition of the contemporary moment. A powerful exploration of how glitch works across writing, art and bodies, it reconfigures our understanding of technology as an aesthetic force that structures our world.
Olga Goriunova, Professor of Media, Royal Holloway University of London.
Elfriede Jelinek in the Arena
Elfriede Jelinek has not shied from the major political topics of our times. The legacy of Nazism, the prevalence of right-wing populism, the war in Iraq, the ongoing financial crisis, humanitarian disasters, misogyny and sexism – all are tackled in formally innovative ways and across a wide range of genres by editors Allyson Fiddler and Karen Jürs-Munby.
The Happy Jug: a novel by Nathan A. Jones
An autofiction libretto by Nathan Jones and CD made in collaboration with the sound artist Kepla. Jones' novel is an attempt to explore what this kind of warped thinking requires from textual form, and thereafter of the speaking voice. Woven through the narrative is an essay on the relationship between experience and knowledge under current conditions.
A History of the Harlem Renaissance
Jonathan Munby's chapter on Rudolph Fisher explores his uniqueness among Harlem Renaissance authors in making Harlem itself the exclusive focus of his writing. He demonstrated keen powers of social observation in revealing how class, regional, phenotypical, and generational distinctions defined Harlem and shaped literary aesthetics.
Performance and Politics in a Digital Populist Age
Cami Rowe's publication re-evaluates the role of performance in global politics in the face of populism and the digital mediatisation of political interactions. Drawing on applied theatre practices, this book shows that performance is inherently concerned with cooperative and collaborative encounters across difference, and performance might therefore support effective responses to digital populism.Performance and Politics in a Digital Populist Age
'On Theatricality' R Rushton and A Quick
What is Theatricality? The contributions in this issue ask these and other questions in relation to a wide range of performance examples and possibilities. These include articles on The Wooster Group, Jan Fabre, Marina Abramović, Robert Wilson, and Goat Island, as well as reflections on theatricality and skill, sound, grief and violence, and on the politics of theatricality, theatricality and disability and immersive theatricality.
The Erotic Reduction by Nigel Stewart
This chapter presents a case study of The Featherstonehaughs Draw on The Sketchbooks of Egon Schiele, a key work by leading British choreographer Lea Anderson (b. 1959). Stewart considers ways in which Anderson’s choreographic techniques re-frame the artworks of the great Austrian artist Egon Schiele (1890–1918), including his apparently “pornographic” depictions of himself and young Viennese women.
CINEMA INFERNO 2022. Based on an original concept by John Galliano. Adapted for the stage by imitating the dog
CINEMA INFERNO has its roots in American road movies. A pair of desperate young lovers are on the run, driving across a mythical American landscape, pursued by a group of faceless gunslingers from a bygone era. As they drive across the desert into the burning sun, they seek shelter in an abandoned picture house, only to find themselves thrown into the celluloid worlds of the films on screen. As they fall though the violent landscapes of B movies, westerns, gothic horrors and road movies, we realise that there is no escape, and they are condemned by their crimes to be on the run for eternity.
CINEMA INFERNO integrates live cameras and projection to create a film that is made on stage before the spectator’s eyes. The performers use found objects, miniature sets and giant screens to create a dynamic piece of live cinema.
The show was staged live at Palais Chaillot, Paris on 6 July 22, for Haute Couture week and was live-streamed by Sodium Films.
Read more about the CINEMA INFERNO.
Instagram: @imitatingthedog / @maisonmargiela
James Quin, Solaris Suite, 2021
Each painting in Quin's Solaris Suite re-presents an image from Andrei Tarkovsky's 1972 science fiction film Solaris - specifically from the film's famous library scene. In this scene aboard the space station Prometheus, orbiting the planet Solaris, Tarkovsky includes an engraving by Gustave Dore and paintings by Pieter Bruegel the Elder.
Quin states, "My interest here is a question of where meaning might lie between original and copy. I am also interested in how an encounter with the repeated image (painting) affects the space in which the paintings are exhibited."
View more of Jame's work on his website.
From the Other Side: About Tim Etchells’ neon and LED works
Etchells’ neon and LED pieces often draw on his broader fascinations as an artist, writer and performance maker, exploring contradictory aspects of language – the speed, clarity and vividness with which it communicates narrative, image and ideas, and at the same time its amazing propensity to create a rich field of uncertainty and ambiguity.
Through simple phrases spelt out in neon, LED and other media, Etchells strives to create miniature narratives, moments of confusion, awkwardness, reflection and intimacy in public and gallery settings. Encountering the neon sign works, in the streets of a city or in the space of a white cube gallery, the viewer becomes implicated in a situation that’s not fully revealed, or a linguistic formulation that generates confusion or ambiguity. As often in Etchells’ work, in the neons the missing parts of the picture are as important as the elements that are present. Invoking a story, or projecting an idea out-of-context, the work invites us in, but into what exactly we can’t be sure.
View more of Tim's work on his website.
View more projects
Drawn from the Ground: Discovering Graphite and its Secrets
01/08/2019 → 31/12/2019
Life Lines: The Art of Looking Good
16/11/2018 → 24/11/2018
‘Female Authors/Female Labours: Writing, Dramaturgy and Translation’
01/12/2016 → 31/07/2017
Glitch Poetics: critical sensory realisms in contemporary language practice
30/09/2015 → 31/05/2018
17/01/2014 → …
01/10/2013 → 01/07/2015
CINEMA INFERNO: Maison Margiela presents, based on an original concept by John Galliano, adapted for the stage by Imitating the Dog International
CINEMA INFERNO – a groundbreaking new show for Paris haute couture house Maison Margiela, based on an original concept by John Galliano, Maison Margiela's creative director.
What Do We Know Anyway?
What do we know (anyway)? is a series of eventful public gatherings taking place across a week, which pull together aspects of JJ's practice, and situates them within the context of Bloc Projects, Sheffield. An exhibition in the gallery serves to name and foreground some of the figures who have differently made their mark on the artist’s practice.
Five lecturers from Fine Art in the Lancaster Institute for the Contemporary Arts have been invited to participate.
Our Imperceptible Universe
Exhibition at the Blyth gallery, Imperial College London developed out of ‘Dark Matters: An Investigation of Thresholds of (Im)perceptibility across Theoretical Cosmology, Art and Anthropology of Science’, a one-year project based at Lancaster University, funded by an AHRC Science in Culture Innovation Award.