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This case study focuses on the impact of Professor Adrian Heathfield's research. Heathfield curated numerous multi-form research exchanges with his Performance Matters Co-Directors over a four-year period, expanding non-academic beneficiaries of performance research, influencing prevailing professional discourses as well as creative and curatorial practices across the arts sector. Workshops, collaborative dialogues, symposia, talks, films, screenings and performances were conceived, realised and hosted by major cultural sector partners, involving an international array of leading academics, artists, activists and curators. Direct impacts for the non-academic partner-organisation — Live Art Development Agency (LADA) — were the expansion of its educational, archival and media activities, and user community. Specific professional development effects were delivered for a culturally diverse group of participating established and early-career artists.
Since 2005, Dr Quick has created a series of practice-as-research projects and educational workshops to increase understanding of how new media-based performance is created and understood. Key beneficiaries have been young people, teachers, theatre practitioners, mixed media artists, and cultural organisations. Five new works have impacted through the introduction of innovative practice performance to new audiences, nationally and internationally (including central and Eastern Europe, the Middle East, Brazil and Taiwan); pioneering new uses of digital technology as creative practice, and sharing such innovation with both established and new theatres and groups.
Performance Research is an independent journal/book series championing artistic-led research at the interface between the academy and the profession. Published by Routledge for ARC a division of the Centre for Performance Research (CPR)[1]. Founded as a cultural and publishing partnership (1995) with Dartington it has developed an identity and frame of intellectual/artistic reference distinct from CPR, forging many developments with partners outwith the academy. CPR's relocation to Falmouth enables both to extend this relationship. PR provides print and on-line platforms for practitioners, arts organisations and researchers. Interdisciplinary in vision, international in scope; it emphasises contemporary performance arts within changing cultures.
A participatory public artwork commissioned as a part of the London 2012 Cultural Olympiad, The Boat Project's impact reaches to a national audience of 440,698 while a global audience of many millions encountered the work via print and broadcast media. Outreach activity engaged over 100 schools while some thirty public artworks were commissioned in response to the project, underlining its impact on local authority cultural provision and the professional fields of contemporary performance, theatre and public art. The project created 22 paid positions, 80 volunteer positions and an on-going commercial venture.
This case study focuses on impact derived from Ildiko Rippel's practice-based research in contemporary performance, resulting in the presentation of Blueprint (2012), a performance involving interaction of performers with their mothers, who are present within the work via real-time video links. Blueprint continues to be performed at festivals and in venues in the UK. Impact, to date, has comprised: opportunities for public engagement with contemporary performance practice and furtherance of public understanding of it; the work's contribution to public performance programming in the UK; its contribution to development of contemporary theatre practices through experience and discussion of it amongst theatre/performance practitioners, promoters and critics; contribution to the vibrancy of publicly available contemporary arts culture in the UK.
Zoe Svendsen's 3rd Ring Out: Rehearsing the Future (3RO; 2010-2011) enhanced public understanding of and engagement with one of the most important social issues of our times through novel modes of performance and communication both live and online. This practice-as-research performance project had significant impact on a broad range of audience-participants, including policy-makers, local authorities, climate change communicators, other artists working in the field of art and climate change, children of school age and the general public. The project continues to attract requests for talks, policy meetings and/or further performances. The impact to date includes altering perceptions of both art and climate change, and of the relationship between them.
The research described focuses on performance in an expansive sense — including both live and documented forms — to address and engage with audiences both within and outside the usual parameters of the art museum or gallery. Impact is achieved through multiple modes: public, audience and community, participation, video, broadcast and performance. This work addresses the impact on cultural understandings and attitudes to performance art in the light of its increasingly de-marginalised role within fine art. The study should be considered in the context of moves by major institutions to acknowledge the increased significance of performance art practice whilst also reaching beyond the fixed notions implied by permanent structures such as the Tate's oil tanks.
Studio for Electronic Theatre (SET) is a group of researchers examining the relationship between technological advance and creative practice. They examine how technology can change the nature of performance environments in specific spaces and address social and political issues in distinct places. Specific performances have:
Additionally, the work being carried out engages directly with non HEI partners and has resulted in members of the group being invited to communicate with a range of interested partners beyond the academy: Greenwich Theatre, Albany Deptford, Kids Company.
The impacts of the research include: a) promotion of self-esteem in transgendered youth; b) changing attitudes among school and college students and training teachers; c) modelling best practice in support organisations; d) shaping opinion in influential forums up to Parliamentary level. These impacts are planned, centrally coordinated and delivered by an infrastructure developed out of the research for this purpose: Gendered Intelligence (GI). Co-founded by researcher Catherine McNamara, GI is the leading organisation in its field, with impacts felt nation-wide, from Plymouth to East Anglia. The value of GI's impact has been recognised at governmental level by the Minister for Schools.
Two strands of research were developed within the Performing the Archive portfolio of projects, focusing on conservation, accessibility and the creative use of culturally significant and unique archives of live art and performance. These have impacted on professional artists, curators and producers working in live art and contemporary performance, on archivists and conservators and on the general public. Through a range of events, workshops, exhibitions and performances held between 2008 and 2013, partner arts organizations have also benefited, including Arnolfini, Bristol Old Vic Theatre (BOVT), In Between Time Productions (IBT) and the National Review of Live Art (NRLA). The influence of the research has been felt regionally, nationally and internationally.