This volume explores the issue of collaboration: an issue at the centre of Performance Arts Research. It is explored here through the different practices in music, dance, drama, fine art, installation art, digital media or other performance arts. Collaborative processes are seen to develop as it occurs between academic researchers in the creative arts and professional practitioners in commercial organisations in the creative arts industries (and beyond), as well as focusing attention and understanding on the tacit/implicit dimensions of working across different media.
Rezensionen / Stimmen
"This is a wide-ranging and practically useful contribution to the existing literature on artistic research, and it is welcome to see researchers putting collaborative research under the spotlight, rather than uncritically embracing it as a universally good thing. As well as manifold opportunities, there are challenges, limitations, and risks of undertaking collaborative practice, which the essays gathered in this book do well to address." (Jacob Thompson-Bell, Leonardo, leonardo.info, August, 2022)
Auflage
Sprache
Verlagsort
Verlagsgruppe
Springer International Publishing
Zielgruppe
Illustrationen
17
17 s/w Abbildungen
XXIX, 270 p. 17 illus.
Maße
Höhe: 210 mm
Breite: 148 mm
Dicke: 17 mm
Gewicht
ISBN-13
978-3-030-38601-6 (9783030386016)
DOI
10.1007/978-3-030-38599-6
Schweitzer Klassifikation
Martin Blain is a Reader in Music Composition at Manchester Metropolitan University. He is a composer and performer and collaborator on the project
The Good, The God and The Guillotine. He has published on collaboration, 'liveness' in performance, and Practice as Research in a variety of journals and book publications.
Helen Julia Minors is School Head of Performing Arts and Associate Professor of Music at Kingston University, London, UK. She has published books including
Music, Text and Translation (2012) and
Paul Dukas: Legacies of a French Musician (2019), co-edited with Laura Watson. She has recently contributed chapters to
The International Handbook of Intercultural Arts Research (2016) and
Translation and Multimodality: Beyond Words (2019)
1. Chapter One: Introduction: Defining the Territory: Interrogating the Collaborative Processes, Issues and Concepts; Martin Blain and Helen Julia Minors.- 2. Chapter Two: The Place of Artistic Research in Higher Education; Martin Blain and Helen Julia Minors.- 3. Chapter Three: Why collaborate? Towards a Philosophy and Politics of Creative Collaboration; Mine Dogantan-Dack.- 4. Chapter Four: The Aesthetics of Collaboration; Andy Hamilton.- 5. Chapter Five: In The Bee Hive: Valuing Craft in the Cultural Industries; Alice Kettle, Helen Felcey and Amanda Ravetz.- 6. Chapter Six: The Right Thing to Play? Issues of Riff, Groove and Theme in Freely Improvised Ensemble Music: A Case Study; Adam Fairhall.- 7. Chapter Seven: Soundpainting: a Tool for Collaborating during Performance.- Helen Julia Minors.- 8. Chapter Eight: Collaboration and the Practitioner-Researcher; Tom Armstrong.- 9. Chapter Nine: Creative Industries and Copyright: Research into Collaborative Artistic Practices in Dance; Mathilde Pavis and Karen Wood.- 10. Chapter Ten: Romance and Contagion: Notes on a Conversation Between Drawing and Dance; Sally Morfill.- 11. Chapter Eleven: The Good, The God and the Guillotine: Insider/Outsider perspectives; Martin Blain and Jane Turner.- 12. Chapter Twelve: Connecting Silos: The New Arts Organisations and HEI Collaborations; Roger McKinley and Mark Wright.
