Find a research supervisor in Drama and Theatre Arts

• The medicalised body in performance
• Anatomical dissection and bodily display as performance
• Medical humanities
• Politics of identity and performance
• Contemporary theatre practice and critical theory
• Live art Performance and interdisciplinary practice

• Immersive, interactive & participatory performance practices
• One-on-one performance
• Practice as research methodologies
• Performance documentation
• Performing heritage & legacy
• Gamification & play in performance

Key areas of research:

• Shakespeare on screen
• Representations of the theatre in film and in other media
• 19th century British Theatre

• Performance practice, especially acting/performer and directing methodologies
• Devising
• The Odin Teatret
• Performance and the environment (especially climate change)
• Practice as research

I am a practice-based scholar and I joined the department as a Teaching Fellow in September 2017, specialising in practically teaching theatre and performance. Besides being a university teacher and lecturer for over twelve years, I have been developing my practice as performance-maker, live artist and event curator since 2006.

At the University of Birmingham I have also set up creative, ...

• Samuel Beckett.
• Contemporary British theatre and performance.
• Performance and popular culture.

• Victorian theatre
• Performance practice (contemporary and historical)
• Popular theatre and performance
• All areas of theatre and music
• Technologies and performance

• Contemporary socio-political drama (British and European)
• Ancient Greek and Roman plays and their influence on British theatre
• Medieval and Renaissance drama
• Non-standard forms of contemporary drama and theatre
• Drama and narration
• Literary and cultural theory and networks
• Ethics and drama
• Post-postmodernism
• Intermediality

• Harold Pinter
• British alternative or fringe theatre
• Contemporary Shakespeare
• Arts Council
• Samuel Beckett

My research primarily concerns mental health in contemporary performance, from representation of psychiatric diagnosis to autobiographical theatre. I’ve written extensively on British theatre and Irish theatre. My current work concentrates on understandings of suicide, including representations of suicide-as-protest and the mourning of suicide.

• Russian actor training, particularly Stanislavsky, Michael Chekhov, Meyerhold
• The history of Russian theatre of the late nineteenth and early twentieth centuries
• The plays of Anton Chekhov
• Actor-training and Alexander  Technique