WEEK 1: Introduction – Dr Yvette Hutchison,
This session will introduce the module; outlining briefly the difference between qualitative and quantitive research, suggest some key methodological approaches to theatre and performance studies research, and give an overview of the conceptualisation and approach to this module. Also, consider how to situate yourself in your research.
We will also discuss the formative presentations and portfolio assignment in this session.
McMahon, Christina. ‘Introduction’ to Recasting transnationalism through performance : Theatre festivals in Cape Verde, Mozambique and Brazil. Pp. 1-34. ebook, link http://webcat.warwick.ac.uk/search~S1?/aMcmahon/amcmahon/1%2C116%2C215%2CB/frameset&FF=amcmahon+christina+s&1%2C1%2C/indexsort=- (on situating yourself, esp pp 5-12)
Jane Bennett and Charmaine Pereira: Introduction: Sexualities and gender-research methodologies and the questions which compel us, in Jacketed Women: Qualitative research methodogies on sexualities and gender in Africa. (Eds.) J. Bennett and C. Pereira. Cape Town: UCT Press & Tokyo, NY & Paris: United Nations University Press. Pp.1-19. (on quantitively research methods)
Preparation: Bring questions you have about this module, things you want to get out of it.
WEEK 2: Research methods– Comparative Cross-Cultural Methodologies: Problems and Possibilities (Dr Milija Gluhovic, M.Gluhovic@warwick.ac.uk)
In this session, we shall focus on cross-cultural methodology with a particular emphasis on the topics of gender/sexuality, human trafficking, and (post)colonialism.
Taylor, Diana. “Acts of Transfer” in The Archive and the Repertoire: Performing Cultural Memory in the Americas (2003), 1-52.
Sorgenfrei, Carol Fisher. “Countering ‘Theoretical Imperialism’: Some Possibilities from Japan.” Theatre Research International, 32:3 (2008): 312-324.
Janelle Reinelt, “When is ‘Labour’ a Coerced Performance? Trafficking, sex work, and consent” in Lateral 5.2 (2016).
Stef Smith’s play Roadkill (2010)
Breaking the History of Silence: Documentary of the Women's International War Crimes Tribunal on Japan's Military Sexual Slavery (2001), 68 min. [excerpts]
Preparation: Consider the relevance of cross-cultural methodology in your own research (e.g. your dissertation projects) and learning.
WEEK 3: Performance as research (Dr Jonathan Heron, Jonathan.Heron@warwick.ac.uk)
This session will be an introductory practical workshop on the PaR methodology as an approach to theatre and performance research.
Kershaw B and Nicholson H (Eds.) (2011) Research Methods in Theatre and Performance, Edinburgh: Edinburgh University Press. [INTRODUCTION ONLY];
Nelson R (2013) Practice as Research in the Arts: Principles, Protocols, Pedagogies, Resistances. Basingstoke: Palgrave Macmillan. [INTRODUCTION ONLY];
Riley SR and Hunter L (Eds.) (2009) Mapping Landscapes for Performance as Research. Basingstoke: Palgrave Macmilan. [INTRODUCTION ONLY]
Preparation: Consider the relationship between practice and research in your own learning.
WEEK 4: Research in Action – Action in research (Participation, Observation, Thick description) (Dr Milija Gluhovic, M.Gluhovic@warwick.ac.uk)
This session will use the Case study: The Eurovision Song Contest to analyse how to engage with participant-observation, focussing particularly on using thick description both to collate material and use it in your research itself.
Clifford Geertz, “Thick Description: Toward an Interpretative Theory of Culture,” in The Interpretation of Cultures: Selected Essays. New York : Basic Books, 1973. 2-30.
Karen Fricker and Milija Gluhovic, “Introduction: Eurovision and the ‘New’ Europe,” in Performing the ‘New’ Europe: Identities, Feelings and Politics in the Eurovision Song Contest, (Eds.) Karen Fricker and Milija Gluhovic. Basingstoke, England; New York: Palgrave, 2013. 1-29.
Preparation: See one of the past Eurovision Song Contests (ESC) on YouTube ahead of the class (if you are not familiar with the ESCS.)
WEEK 5: Archival research (Prof. Nadine Holdsworth, N.Holdsworth@warwick.ac.uk)
This session will consider the use of archives for research purposes and also the ethical issues arising from the ways in which archives are compiled and the ways in which their contents are used as evidence in academic study. After a broad introduction to the topic we will explore a number of archival sources connected to the theatre director Joan Littlewood and her company Theatre Workshop.
Maggie Gale & Ann Featherstone, ‘The Imperative of the Archive: creative archive research’ in (Eds.) Baz Kershaw & Helen Nicholson, Research Methods in Theatre and Performance (Edinburgh: Edinburgh University Press, 2011), pp. 17-40
Fiona Mackintosh, ‘Museums, archives and collecting’ in (Eds.) David Wiles & Christine Dymkowski, The Cambridge Companion to Theatre History (Cambridge: Cambridge University Press, 2016), pp. 267-280.
Preparation: Listen to the Dudley Sutton interview done as part of the Theatre Archive Project http://sounds.bl.uk/Arts-literature-and-performance/Theatre-Archive-Project and look at a study pack distributed in advance that will contain a programme, reviews and production photographs. Come to the session prepared to talk about what these items reveal to you.
WEEK 6: (Auto)Ethnographic writing (Dr Milija Gluhovic, M.Gluhovic@warwick.ac.uk)
This session will consider the role and place of auto(ethnographic) in research.
Conquergood, Dwight. ‘Rethinking Ethnography: Towards a Critical Cultural Politics,’ in The SAGE Handbook of Performance Studies, (Eds.) D. Soyini Madison and Judith Hamera. Sage: Thousand Oaks, 2006. 351-365.
Madison, D. Soyini. ‘Dwight Conquergood's “Rethinking Ethnography,’ in The SAGE Handbook of Performance Studies, (Eds.) D. Soyini Madison and Judith Hamera. Sage: Thousand Oaks, 2006. 347-350.
Bacon, Jane. ‘Embodied and Direct Experience in Performance Studies,’ in Performance and Ethnography: Dance, Drama, Music, (Eds.) Peter Harrop and Dunja Njaradi. Newcastle upon Tyne: Cambridge Scholars Publishing, 2013. 113-130.
D. Soyini Madison. ‘Introduction,’ in Critical Ethnography: Method, Ethics, and Performance. Thousand Oaks, California: SAGE, 2012. 1-17.
Preparation: Consider the role and place of auto(ethnographic) research in your own research and learning.
WEEK 7: Collaboration (Dr Milija Gluhovic, M.Gluhovic@warwick.ac.uk)
This session will focus on discussing issue of collaboration through an analysis of a CASE STUDY: “The Black/North SEAS project” – an example of cross-European arts collaboration which had strong research, policy and impact prerogatives. We explore questions such as: How artists collaborate across European borders? How to research collaboration?
Colin, Noyale and Stefanie Sachsenmaier, ‘Colleborative Performance Making in Context,’ Collaboration in Performance Practice: Premises, Workings and Failures, (eds.) Noyale Colin and Stefanie Sachsenmaier. Basingstoke, Hampshire : Palgrave Macmillan, 2016. 1-24.
Gluhovic, Milija. ‘European Women on the Move: Gender, Migration and Belonging,’ in Anne Lise Stenseth’s Kiss and Waste Project.” The Kiss and Waste Project. (Ed.) Morten Johan Svendsen. Førde: Sogn og Fjordane Museum of Fine Art, 2011. Pp. 70-85.
View: Screening in class of excerpts from selected SEAS project performances
Preparation: Consult the SEAS project’s website. http://www.intercult.se/blacknorthseas/
WEEK 8: Performance as research – Intervention (Maria Estrada Fuentes, M.A.Estrada-Fuentes@warwick.ac.uk
This session will look at various ways of understanding performance as a strategy and paradigm for social intervention. We will address the role of time and performance practice in conflict transformation.
Maggie Inchley, ‘Touring Testimonies: Rebalancing the Public Realm through Human Rights Activism in Asylum Monologues and Seven,’ Lateral 5.2 (2016), http://csalateral.org/wp/issue/5-2/touring-testimonies-rebalancing-public-realm-human-rights-inchley/.
Helen Nicholson, ‘Creativity and Social Intervention’ in Applied Drama: The Gift of Theatre. (London: Palgrave Macmillan, 2015), pp. 113-133
John Paul Lederach, ‘On Time: The past that Lies before Us’ in The moral Imagination: The Art and Soul of Building Peace. (Oxford: Oxford University Press, 2005) pp. 112-149
Preparation: Bring a list of three questions related to the readings.
WEEK 9: Research in Action - Oral History (Dr Wallace McDowell, Wallace.B.McDowell@warwick.ac.uk)
In this session, we are going to consider how to approach interviews when researching.
Ann Oakley, Interviewing Women Again: Power, Time and the Gift. Sociology, 2016, Vol. 50(1) 195. –213, DOI: 10.1177/0038038515580253, soc.sagepub.com
Ray Pawson, Theorizing the Interview. The British Journal of Sociology, 47:2 (June, 1996), pp. 295-314. URL: http://www.jstor.org/stable/591728
Preparation: Work up a set of 10 questions that you might ask someone to explain their educational journey to doing this MA
WEEK 10: Cultural paradigms for intercultural research, including engagement with Indigenous methodologies (Yvette Hutchison, Y.A.Hutchison@warwick.ac.uk)
To the colonized, the term 'research' is conflated with European colonialism; the ways in which academic research has been implicated in the throes of imperialism remains a painful memory. This session considers intersections of imperialism and research - specifically, the ways in which imperialism is embedded in disciplines of knowledge and tradition as 'regimes of truth.' Concepts such as 'discovery' and 'claiming' are discussed and an argument presented that the decolonization of research methods will help to reclaim control over indigenous ways of knowing and being.
We will also discuss the essay assignment and criteria for it.
Read: Linda Tuhiwai Smith. 2012. Decolonizing methodologies : research and indigenous peoples. London: Zed Books; Dunedin, N.Z.: University of Otago Press.
Preparation: Consider how you came to know what you know, and name things. How might ways of accessing and disseminating knowledge in western paradigms be imperialistic? How could this be challenged in the ways we research and disseminate research?