Performance Pedagogy
Objects, Transfers, Formations
Will be published approx. on 19. March 2026
Book
Hardback
272 pages
978-1-350-39930-3 (ISBN)
Description
What does it mean to teach an ephemeral object like 'performance'?
And what might the teaching of performance have to offer to other kinds of teaching and learning in a changing world?
Through posing and seeking to answer these questions, this open-access book urges a reconsideration of the relationship between performance and pedagogy. These questions are urgent in the light of profound changes, both institutional and historical, in the larger scope of higher education and the place performance may have in that setting and its peripheries.
Each of the chapters considers an object and its role in performance pedagogy. The objects range from the concrete to the conceptual and open new ways of considering how to teach performance and how performance teaches.
The book features a unique construction - "interstitial exchanges" - wherein the authors of each chapter pose provocations and responses to each other through short essays between the main chapters, connecting the disparate objects of performance pedagogy and offering dialogues.
In this way, the volume opens conversations beyond performance studies, asking what performance might have to say about the objects all around us that shape our lives in the 21st century.
The ebook editions of this book are available open access under a CC BY NC-ND-4.0 licence on bloomsburycollections.com.
And what might the teaching of performance have to offer to other kinds of teaching and learning in a changing world?
Through posing and seeking to answer these questions, this open-access book urges a reconsideration of the relationship between performance and pedagogy. These questions are urgent in the light of profound changes, both institutional and historical, in the larger scope of higher education and the place performance may have in that setting and its peripheries.
Each of the chapters considers an object and its role in performance pedagogy. The objects range from the concrete to the conceptual and open new ways of considering how to teach performance and how performance teaches.
The book features a unique construction - "interstitial exchanges" - wherein the authors of each chapter pose provocations and responses to each other through short essays between the main chapters, connecting the disparate objects of performance pedagogy and offering dialogues.
In this way, the volume opens conversations beyond performance studies, asking what performance might have to say about the objects all around us that shape our lives in the 21st century.
The ebook editions of this book are available open access under a CC BY NC-ND-4.0 licence on bloomsburycollections.com.
More details
Series
Language
English
Place of publication
London
United Kingdom
Publishing group
Bloomsbury Publishing PLC
Target group
College/higher education
Illustrations
40 bw illus
Dimensions
Height: 240 mm
Width: 161 mm
Thickness: 20 mm
Weight
587 gr
ISBN-13
978-1-350-39930-3 (9781350399303)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Classification
Persons
Felipe Cervera is a performance maker and writer. He is a Lecturer in the Theatre Department at UCLA, USA. His research interests are collaborative academia (teaching and research) and the social production of outer space. He has published widely on these topics in various refereed and non-refereed outlets. He serves as Editor of Global Performance Studies and Associate Editor of Performance Research.
Eero Laine is the Director of Graduate Studies of the Department of Theatre and Dance and Assistant
Professor at the University at Buffalo, US. He is the author of Professional Wrestling and the Commercial Stage (2020) and is one of the co-editors of Lateral, the journal of the Cultural Studies Association.
Diana Damian Martin is an artist and researcher. She is currently Senior Lecturer in Performance Arts at the Royal Central School of Speech and Drama, UK, where she leads the BA (Hons) Experimental Arts and Performance course. Her work has been published in Global Performance Studies, Performance Research, Contemporary Theatre Review and Research in Drama Education. She is editor [Margins section] of Performance Philosophy Journal.
Theron Schmidt lives and works on unceded Gadigal land. He teaches creative activism, performance writing, and collaborative practice at UNSW Sydney, Australia, and has published widely on contemporary theatre and performance, participatory art, and politically engaged performance. He is a founding co-convener of the international Performance Philosophy network, co-editor of the journal Performance Philosophy and Associate Editor for Performance Research.
Eero Laine is the Director of Graduate Studies of the Department of Theatre and Dance and Assistant
Professor at the University at Buffalo, US. He is the author of Professional Wrestling and the Commercial Stage (2020) and is one of the co-editors of Lateral, the journal of the Cultural Studies Association.
Diana Damian Martin is an artist and researcher. She is currently Senior Lecturer in Performance Arts at the Royal Central School of Speech and Drama, UK, where she leads the BA (Hons) Experimental Arts and Performance course. Her work has been published in Global Performance Studies, Performance Research, Contemporary Theatre Review and Research in Drama Education. She is editor [Margins section] of Performance Philosophy Journal.
Theron Schmidt lives and works on unceded Gadigal land. He teaches creative activism, performance writing, and collaborative practice at UNSW Sydney, Australia, and has published widely on contemporary theatre and performance, participatory art, and politically engaged performance. He is a founding co-convener of the international Performance Philosophy network, co-editor of the journal Performance Philosophy and Associate Editor for Performance Research.
Content
Chapter 1: What is Performance Pedagogy? by Felipe Cervera (Lasalle College of the Arts, Singapore), Diana Damian Martin (Royal Central School of Speech and Drama, UK), Eero Laine (University at Buffalo, State University of New York, US), Theron Schmidt (University of New South Wales, Aus)
Chapter 2: Concepts by Maaike Bleeker (University of Utrecht, Netherlands)
Chapter 3: Mirrors by Heike Roms (University of Exeter, UK)
Chapter 4: Cooperative Pedagogies by Diana Damian Martin (Royal Central School of Speech and Drama, UK)
Chapter 5: Rules of the Room by Theron Schmidt (University of New South Wales, Aus)
Chapter 6: Discussions by Felipe Cervera (Lasalle College of the Arts, Singapore)
Chapter 7: Letting it Breathe: Guided Auto-Didacticism and the 3As of Bodyworld by Frank Camilleri (University of Malta, Malta)
Chapter 8: Decomposing the Voice: narratives of objecthood and being heard by Electa Behrens (Norway Theatre Academy, Norway)
Chapter 9: Pedagogical Discontent in The Age of Deja Su: Information as Half-Objects by Kyoko Iwaki (University of Antwerp, Belgium)
Chapter 10:. Zooming out: the distributed, digital objecthood of teleconferencing environments by Miguel Escobar Varela (National University of Singapore, Singapore)
Chapter 11: Performing Cohorts by Robyn Horn (University at Buffalo, State University of New York, US), Eero Laine (University at Buffalo, State University of New York, US), Yao Kahlil Newkirk (University at Buffalo, State University of New York, US), Dahye Lee (The Graduate Center, City University of New York, US), Evan Moritz (University of Toronto, Canada), Bella Poynton (University at Buffalo, State University of New York, US)
Chapter 12: Conclusion: The Fields of Performance Pedagogy by Felipe Cervera (Lasalle College of the Arts, Singapore), Diana Damian Martin (Royal Central School of Speech and Drama), Eero Laine (University at Buffalo, State University of New York, US), Theron Schmidt (University of New South Wales, Aus)
Bibliography
Index
Chapter 2: Concepts by Maaike Bleeker (University of Utrecht, Netherlands)
Chapter 3: Mirrors by Heike Roms (University of Exeter, UK)
Chapter 4: Cooperative Pedagogies by Diana Damian Martin (Royal Central School of Speech and Drama, UK)
Chapter 5: Rules of the Room by Theron Schmidt (University of New South Wales, Aus)
Chapter 6: Discussions by Felipe Cervera (Lasalle College of the Arts, Singapore)
Chapter 7: Letting it Breathe: Guided Auto-Didacticism and the 3As of Bodyworld by Frank Camilleri (University of Malta, Malta)
Chapter 8: Decomposing the Voice: narratives of objecthood and being heard by Electa Behrens (Norway Theatre Academy, Norway)
Chapter 9: Pedagogical Discontent in The Age of Deja Su: Information as Half-Objects by Kyoko Iwaki (University of Antwerp, Belgium)
Chapter 10:. Zooming out: the distributed, digital objecthood of teleconferencing environments by Miguel Escobar Varela (National University of Singapore, Singapore)
Chapter 11: Performing Cohorts by Robyn Horn (University at Buffalo, State University of New York, US), Eero Laine (University at Buffalo, State University of New York, US), Yao Kahlil Newkirk (University at Buffalo, State University of New York, US), Dahye Lee (The Graduate Center, City University of New York, US), Evan Moritz (University of Toronto, Canada), Bella Poynton (University at Buffalo, State University of New York, US)
Chapter 12: Conclusion: The Fields of Performance Pedagogy by Felipe Cervera (Lasalle College of the Arts, Singapore), Diana Damian Martin (Royal Central School of Speech and Drama), Eero Laine (University at Buffalo, State University of New York, US), Theron Schmidt (University of New South Wales, Aus)
Bibliography
Index