Collaborative noises: theatre and music technology in practice
- Submitting institution
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University of Lincoln
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 24069
- Type
- T - Other
- DOI
-
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- Location
- -
- Brief description of type
- Publication and performance
- Open access status
- Out of scope for open access requirements
- Month
- October
- Year
- 2016
- URL
-
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- Supplementary information
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- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- Yes
- Additional information
- The three-year research project Collaborative Noises: Theatre and Music Technology in Practice (2013-2016) was a collaboration between Andrew Westerside (University of Lincoln, Principal Investigator), Proto-type Theater, Jane Turner (MMU), Martin Blain (MMU), and the Manchester Metropolitan University Laptop Ensemble (MMUle).
Our first-stage methodology took the form of practice-as-research explorations into the relationship (in collaboration and devising) between live digital music and experimental theatre practice. The preliminary-PaR process was used to scope the viability of the study and shaped our formal research questions / imperatives:
1. In what ways can collaborative arts practice examine the languages of interdisciplinary collaboration across/between the fields of live digital music & experimental theatre?
2. Is it possible, through practice, to develop a critical understanding of aesthetics and affect in contemporary / avant-garde digitally-led music theatre?
3. What are the practical dramaturgies of multi-medial and multi-modal performance in the context of collaboration, adaptation, and liveness?
The research outputs arising from the project, submitted as a multi-component output, included:
• performances of The Good, the God and the Guillotine (2014) at Lancaster Institute for the Contemporary Arts (Live at LICA), Contact Theatre (Manchester), Axis Arts Centre (MMU), Lincoln Performing Arts Centre, and Nottingham European Arts and Theatre Festival.
• the publication Westerside, A. et al (2016) ‘Through collaboration to sharawadji: immediacy, mediation and the voice’, in Theatre and Performance Design, Volume 3.
Further engagement with wider research communities included an exhibition at Open Space (Axis Arts Centre), a round-table symposium at Manchester Metropolitan University, and the publication of an article by Kathleen M. Gough (2015). “The Art of the Loop: Analogy, Aurality, History, Performance” in TDR: The Drama Review, Volume 60, Number 1 Spring 2016 (1229) pp. 93-115.
The project received two funding awards of £60,000 and £12,500 from Arts Council England for its development.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
