Publications

From the Centre for Practice and Research in Performing Arts

Explore our Research

  • Browne, S. (2018) ‘Girl talk: feminist phonocentrism as act of resistance in the musical, Hair’. Studies in Musical Theatre 12(3):291-303 http://doi.org/10.1386/smt.12.3.291_1
  • Browne, S. (2018) ‘The Last Ship from Broadway to Newcastle: A feminist political musical for the Brexit era’. Studies in Musical Theatre. http://doi.org/10.1386/smt.12.3.377_1
     
  • Chandler, C. & Scheuber-Rush, S. (Forthcoming 2021) ‘‘Does Anybody Have A Map?’ The Impact of ‘Virtual Broadway’ on Musical Theatre Composition’. The Journal of Popular Culture. 
     
  • Curpan, G. (2019) ‘The influence of Christian Orthodox thought on Stanislavski’s theatrical legacy’. Stanislavski Studies 7(2):201-217 http://doi.org/10.1080/20567790.2019.1644747
     
  • Curpan, G. (2020) ‘Stanislavski’s creative state on the stage. A spiritual approach to the “system” through practice as research’ Stanislavski Studies 8(1):71-85. https://doi.org/10.1080/20567790.2019.1710057
     
  • Dalgleish, M. (2018) There are no universal interfaces: how asymmetrical roles and asymmetrical controllers can increase access diversity [online]. GAME Games as Art Media Entertainment, Issue 7 (Digital Games for Special Needs; Special Needs for Digital Games). Available at: https://www.gamejournal.it/wp-content/uploads/2019/08/GAME_07_SpecialNeeds.pdf
     
  • Dalgleish, M. and Reading, N. (2017). ‘Soundtrack as Auditory Interface: Exploring an Alternative to Audio Description for Theatre’. Proceedings of: Reproduced Sound 2017: Sound Quality By Design, Institute of Acoustics Proceedings, 39(1). https://www.ioa.org.uk/catalogue/paper/soundtrack-auditory-interface-exploring-alternative-audio-description-theatre

  • Hampton, C. (2020) ‘Selfies at the border: a terror management reading’. Liminalities: a journal of performance studies 16(2):1 http://liminalities.net/16-2/selfies.pdf
     
  • Hampton, C. (2016) '#nomakeupselfies: the Face of Hashtag Slacktivism', Networking Knowledge: Journal of the MeCCSA Postgraduate Network, 8 (6), 1-14. https://doi.org/10.31165/nk.2015.86.406
     
  • Murphy, D., Shelley, S., Foteinou, A., Brereton, J., Daffern, H. (2017) ‘Acoustic heritage and audio creativity: the creative application of sound in the representation, understanding and experience of past environments.’ Internet Archaeology 44:1-23 http://doi.org/10.11141/ia.44.12

  • Whitfield, S. (2020) ‘Disrupting heteronormative temporality through queer dramaturgies: Fun Home, Hadestown and A Strange Loop’. Arts, 9(2), 69; https://doi.org/10.3390/arts9020069
     
  • Whitfield, S.K. (2020). ‘A Space Has Been Made: Bisexual+ Stories in Musical Theatre’. Theatre Topics 30 (2), E-5-E-12. https://doi.org/10.1353/tt.2020.0028.
     
  • Whitfield, S. (2016) ‘‘Next you’re Franklin Shepard Inc.?’ Composing the Broadway musical, a study of Kurt Weill’s working practices’. Studies in Musical Theatre 10(2):163-176. http://doi.org/10.1386/smt.10.2.163_1  
     
  • Zavros, D. (2019) ‘The act of listening: Gardzienice’s mutuality practice and the ACTing Voice’. Theatre, Dance and Performance Training. 10(3): 337-348. https://doi.org/10.1080/19443927.2019.1660524

  • Dalgleish, M., Reading, N. (2017) Soundtrack as Auditory Interface: Exploring an Alternative to Audio Description for Theatre. Reproduced Sound 2017. Institute of Acoustics, Nottingham, UK. 39: 1. 30 Nov 2017

  • Dalgleish, M. and Whitfield, S. (2020) Sound objects: Towards procedural audio for and as theatre, Proceedings of: Innovation in Music 2019, 5th-7th December 2019, University of West London, London.