Papers by nicola shaughnessy
Frontiers in psychology, Jun 17, 2024
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My final example returns us to the issues of aesthetics, ethics, affect and evaluation, as well a... more My final example returns us to the issues of aesthetics, ethics, affect and evaluation, as well as to the principles of applying performance, and draws on my own experience. During 2005 I was involved in an intergenerational project, a collaboration between Canterbury Museum, Year 6 primary school pupils from four local schools, and the Departments of Drama and Theatre Studies and Electronics at the University of Kent. This was a C&T-style Living Newspaper project (the company trained the university students during a residency), focusing on the 1942 Canterbury Blitz.
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I examine how theatre has worked as an enriched environment for enhancing understanding of autism... more I examine how theatre has worked as an enriched environment for enhancing understanding of autism. I make reference to two projects, both funded by the UK Arts and Humanities Research Council: Imagining Autism (2011-14) and Playing A/Part: investigating the experiences of autistic girls through drama, interactive media and participatory arts (2018-2021). By casting new light on autistic identities and experiences, participatory arts have enriched other disciplines. My discussion positions this research in debates between medical and social models of disability, engaging with constructions of difference in the contexts of disability and gender studies.
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Oxford University Press eBooks, Nov 3, 2016
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‘Resistant’ and ‘transcendent’ are terms readily associated with applied theatre and performance.... more ‘Resistant’ and ‘transcendent’ are terms readily associated with applied theatre and performance. The performance work featured within this book shares ideological and political objectives that are espoused through practices which have the potential to challenge, innovate and transform, respecting and promoting individual agency as well as embracing collective identities. Kershaw’s comment in his millennial volume coincided with a crisis in theory (Eagleton, 2003). New models were needed for new forms and an emergent new world order. Digital revolution, political revolution and upheaval, global economic anxieties and ecological concerns about sustainability and the environment are part of the twenty-first-century climate of change with new temporalities, materialities and ontologies. In terms of temporality, the mediatization of events means they no longer take place in particular times and places, distance no longer matters in the context of Skype, while the past is being returned to the present through new technologies for recovering, preserving and documenting. We seek to possess the past through a commodification of history. Family archives become part of our material identities; theatre archives become ‘live’. Performance documentation is a means of keeping the past in a continuous present, a refusal to accept the past as loss.
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Pluto Press eBooks, 1996
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Theatre Topics, 2019
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The series offers a unique opportunity to view the creation of Shakespeare’s after-life and reput... more The series offers a unique opportunity to view the creation of Shakespeare’s after-life and reputation through the works of his major theatrical interpreters. This edition features the actress Margaret Woffington and draws together a carefully edited selection of the actresses own words with those of her contemporaries and critics. Texts are presented in digitally enhanced facsimile and are supported by extensive new editorial material including a general introduction, volume introductions, headnotes, endnotes, bibliographies, chronologies and a consolidated index. This broadly interdisciplinary edition will interest scholars undertaking research in Shakespearian Studies, History of the Theatre and Performance, and Eighteenth-Century Studies. Makes available a comprehensive selection of rare and difficult-to-access contemporary texts on the reception and reputation of three key eighteenth-century Shakespearian actors New editorial matter includes a general introduction, volume introductions, chronologies, headnotes, endnotes, and a consolidated index
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This chapter explores a range of work whose practices draw upon the current vogue for what has be... more This chapter explores a range of work whose practices draw upon the current vogue for what has been defined variously in the context of art and performance as ‘collaborative’, ‘interactive’, ‘immersive’ and ‘participatory.’ Although it might be argued that all applied theatre is participatory (and this is identified in Part I as a principle of applying performance), the focus on the participant’s experience through the form of the work brings it into dialogue with Machon’s ‘(syn)aesthetics’, a ‘ redefining’ of ‘visceral performance’ (Machon, 2009). This body of work, Machon explains, is ‘impossible to define as a genre, due to the fluidity of forms explored’ but its style ‘places emphasis on the human body’ as well as the verbal as a ‘visceral’ act; it is ‘sensate’ and often ‘transgressive’ as ‘its very form can produce a response in the individual audience member that goes beyond the discourse of critical analysis’ its inarticulacy being ‘due to the fact that the act of immediate perception is primarily located in the body’ (2009: 2). This ‘(syn)aesthetic style she associates with productions such as Theatre de Complicite’s Street of Crocodiles (1992), De la Guarda’s form of ‘shock’ theatre in pieces such as Villa! Villa! (1998), Pina Bausch’s Bluebeard (1984) and DV8’s Dead Dreams of Monochrome Men (1990), as well as play texts such as Churchill’s The Skriker (1994), Beckett’s Not I (1972) and the corporeal writing of Sarah Kane. Machon identifies three ‘performance strategies’ as key features of the (syn)aesthetic performance style: the ‘(syn)aesthetic hybrid’, which she defines in relation to Richard Wagner’s gesaamtkunstwerk (or ‘total artwork’); a ‘pre dominance of the actual body as text in performance’; and an experimentation with ‘writerly speech to establish a visceralverbal playtext’ (4). Here, her emphasis is on the Kantian, ludic nature of play (discussed in Part I), in conjunction with a Steinian linguistic jouissance where sound and syntax create a nonsensical visceral form of orality. These three elements, however, are present in different combinations and emphases in (syn)aesthetic performance which may not always incorporate all three.
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Palgrave Macmillan UK eBooks, 2012
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Interdisciplinary Science Reviews, Dec 1, 2013
Abstract Perspectives on the phenomenology of the autistic experience are presented with particul... more Abstract Perspectives on the phenomenology of the autistic experience are presented with particular reference to the imagination in autism and what may be conceptualized as ‘neurodivergent aesthetics’. Drawing upon a research project that explored the potential of drama as an ‘intervention’ in autism, an attempt is made to de-mythologize the condition by challenging stereotypes and by suggesting that the multimodalities of performance offer an appropriate space for ‘encounters’ with autistic states of being while also questioning the dualisms which distinguish between the aesthetic and non-aesthetic.
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Performing Psychologies, 2019
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Critical Studies in Teaching and Learning
This paper arises from a UK research project, Playing A/Part, which explores the identities and e... more This paper arises from a UK research project, Playing A/Part, which explores the identities and experiences of autistic girls through creative practices and the implications for pedagogy. Funded by the Arts and Humanities Research Council, the project was an interdisciplinary collaboration using mixed-measures and a creative and participatory approach to co-produce new knowledge about this under-represented group. The research engaged 77 girls, aged 11 to 16, in a range of educational settings: Special Educational Needs, mainstream, and selective. The focus of discussion is the emergence of the labyrinth as a creative tool for learning and well- being and the implications for care and learning in neurodivergent contexts. After contextualising the study in relation to research on autism and gender, the paper explains how labyrinths offered an appropriate ethical, aesthetic, and sensory space for the creative pedagogic practices within the research programme. The paper also considers ...
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I examine how theatre has worked as an enriched environment for enhancing understanding of autism... more I examine how theatre has worked as an enriched environment for enhancing understanding of autism. I make reference to two projects, both funded by the UK Arts and Humanities Research Council: Imagining Autism (2011-14) and Playing A/Part: investigating the experiences of autistic girls through drama, interactive media and participatory arts (2018-2021). By casting new light on autistic identities and experiences, participatory arts have enriched other disciplines. My discussion positions this research in debates between medical and social models of disability, engaging with constructions of difference in the contexts of disability and gender studies.
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Papers by nicola shaughnessy