PLRM student in Sound of Music

Natasha Spence (3rd year student on BA Performance for Live and Recorded Media) is currently playing the role of Elsa Schrader (Captain von Trapp’s would be fiancee) at the Dalington Civic Theatre. You still have a few days to catch her fantastic performance in this role – the show runs until 4th May! See

Motion Capture collaboration

Third year student Gareth Parish worked alongside a small team of game designers and animators, in the motion capture suite to create the game 6 bullets. This game is designed by the team of animation students and Gareth performed movement embodying a character of the game. He created various scenes and situations under the directions of the animators, and performed these wearing a motion capture suite in the motion capture studio. Movement that is created in the motion capture studio allows the characters of the game looking realistic and believagareth motion captureble within the game. Take a look at his work by clicking on the image to see the video.

Lecturer’s film about to start festival run….trailer #1

Associate Lecturer Peter Wilkinson has recently finished post-production on his latest short film, ‘Saving Grace’. Peter works as a writer/producer with cinematographer Matt Rozier as production company Blind Crow Pictures. Their last short, ‘Girl in the Woods’ was screened in festivals around the world and in January was long-listed for the BAFTA for best short film.


Saving Grace will be entered into festivals as of May 2013. In the meantime, Blind Crow are releasing a series of trailers – each giving an insight into one of the main characters of the film, and in doing so into the film itself. Here is a link to Blind Crow site and to trailer number #1 – Tom.

New publication out soon…

O’Brien, Sarah (2013) ‘Thinking Through Moving Image and Performance’ in Of Other Thoughts: Non-traditional Approaches to the Doctorate. Sense Publishers. (In Press)

In this chapter, O’Brien discusses the need to generate methodologies for non-traditional projects that are adequate to the research subject matter and consistent with its guiding frameworks. She addresses ways of articulating differences within the context of the continuing debates around the dissemination of the thesis in the field of performance. O’Brien suggests that methodology in a practice-led PhD methodology is always ideologically loaded. Consequently, divergent positions between supervisor and candidate ask for mediating procedures and comparisons with other practitioners’ and researchers’ practices and reflections. O’Brien puts forward her own experience of a practice-led PhD as one possible example of a methodology. She claims that her practice was not designed as an investigation to uncover an imminent ‘truth’ but as the realisation of theoretical schemas (performance ideas) trusting that new knowledge would emerge through both the failure to realise these ideas fully and the alternative brought about by the realisation. This methodology interrogates the relationship between written and performance work: demonstrating how the writing process can be integral to the creative methodology.

Dance lecturers dancing in Belgium

Gaga-Belgium-1024x682Rose Payne and Heike Salzer, both spent 7 days in Antwerp, Belgium, at the first ever Gaga Intensive Course, taking place in Europe. Participating in sessions of the Gaga technique which has been developed by Israeli choreography Ohad Naharin, artistic director of the Batsheva Dance Company, repertory as well as methodics.

They are keen to incorporate these new inspirations in their classes.