Advisory and Steering Board
Originally from Mexico, Felipe Cervera is a Lecturer of Theatre at LASALLE College of the Arts (Singapore), and Graduate Faculty at the Centre for Drama, Theatre & Performance Studies at the University of Toronto (Status-only, Canada). His most recent publication is ‘Theatre and Eschatological Politics’, in The Routledge Companion to Theatre and Politics, edited by Peter Eckersall and Helena Grehan (Routledge, 2019).
Ella Finer’s work in sound and performance spans writing, composing, and curating, with a particular interest in how women’s voices take up space and in how bodies acoustically disrupt, challenge, or change the order of who is allowed to occupy–command–space. Her book Acoustic Commons and the Wild Life of Sound (Errant Bodies, Berlin) is forthcoming in 2020.
Emma Frankland is a live performance and theatre artist. Her work often focusses on honesty, action and a playfully destructive DIY aesthetic. Her recent work has been focussed on the None of Us is Yet a Robot project, a series of performance pieces recently published by Oberon Books as “None of Us is Yet a Robot: Five Performances on Gender Identity and the Politics of Transition”.
Mark Fleishman is Professor in Theatre, Dance and Performance Studies at the University of Cape Town and the co-founder of Magnet Theatre (www.magnettheatre.co.za). His research interests include contemporary South African theatre, translation and performance, interactive dramaturgy, and site-specific community-based performance.
Annie Goh is an artist and researcher working primarily with sound, space, electronic media and generative processes. Her work takes a critical approach to debates in the fields of digital technologies, media arts, and generative and computational processes, with a particular focus on sound, intersectional feminism, decolonial theory and the politics of knowledge production.
Professor Julian Henriques is convenor of the MA Scriptwriting and the MA Cultural Studies programmes, director of the Topology Research Unit and a co-founder of the Sound System Outernational practice research group in the Department of Media, Communications and Cultural Studies, Goldsmiths, University of London.
Lynette Hunter is Professor of the History of Rhetoric and Performance at UC Davis. She has written and edited over 30 books and many essays on topics ranging from the history of rhetoric and literature, to philosophy and feminist theory, post/neo-colonial studies and performance studies.
Rob Icke is an award-winning writer and theatre director. In 2018, he won the Kurt Hübner Award for his debut production in Germany, and was elected Fellow of the Royal Society of Literature. He is the youngest ever winner of the Olivier Award for ‘Best Director’ for Oresteia, which also won the ‘Best Director’ prize at both the Critics Circle and Evening Standard Theatre Awards. 1984 won ‘Best Director’ at the UK Theatre Awards 2014 and ‘Best Director’ at the Liverpool Arts Awards 2013.
Javon Johnson is a spoken word poet, writer, and professor. He is the director of African American and African Diaspora Studies in the Department of Interdisciplinary, Gender, and Ethnic Studies at the University of Nevada, Las Vegas, and the author of Killing Poetry: Blackness and the Making of Slam and Spoken Word Communities (Rutgers University Press 2017).
Kanta Kochhar-Lindgren is an Indian-American and hard-of-hearing choreographer, director, curator, interarts practitioner, and scholar with a Ph.D. in Performance Studies from New York University. As the Founding Artistic Director of Folded Paper Dance and Theatre Limited (Hong Kong/Seattle), she focuses her collaborative endeavours on building cross-cultural networks and new forms of dance laboratories. Her current project is Sounding Bodies: Intermedia in Hong Kong (Hong Kong Arts Development Council Project Grant, 2020-2021). She is the author of Hearing Difference: The Third Ear in Experimental, Deaf, and Multicultural Theatre.
Gay McAuley lectured on theatre and film in the French Department at the University of Sydney before establishing Performance Studies as an interdisciplinary centre there in 1989. She is the author of Space in Performance (University of Michigan Press, 1999) and Not Magic But Work (Manchester University Press, 2012).
Adelina Ong completed her PhD at the Royal Central School of Speech and Drama in 2018. Compassionate Mobilities proposes a theory for negotiated living inspired by parkour, art du déplacement, breakin’ (breakdancing) and graffiti. She has published in Research in Drama Education: The Journal of Applied Theatre and Performance.
Eugénie Pastor and Shamira Turner
Advisory Board (Artist Representatives)
Eugénie Pastor and Shamira Turner work together as She Goat. Alongside their work as a duo, and amongst other activities, Pastor researches and teaches theatre and performance at London South Bank University, and Turner has collaborated with a number of other companies including 1927, Theatre Ad Infinitum, The Sleeping Trees, and Camille Boitel/L’Immédiat.
Advisory Board (Student Representative)
Kalina Petrova is a Bulgarian creative practitioner, currently based in London, and a graduate of BA Performance Arts at the Royal Central School of Speech and Drama. She identifies as an experimental performance artist who works across dance and embodied practice, photography, film, live art, poetry, electronic music, curation, installation and directing.
Trish Reid is a Professor of Drama and Pro-Vice Chancellor at Kingston University, London. She is committed to fair access to higher education and her research addresses the ways identity politics intersect with politics more generally on the contemporary stage. Earlier in her career Trish was a musician and actor. As an academic she is the author of many publications on Scottish theatre and performance and on British playwriting.
George Rodosthenous is Associate Professor in Theatre Directing at the School of Performance and Cultural Industries of the University of Leeds. His research deals with the body in performance, improvisational techniques and compositional practices, devised pieces with live musical soundscapes, and updating Greek Tragedy and the British Musical.
P.A. Skantze is Reader in the Department of Drama, Theatre and Performance at Roehampton University, London. Her work addresses voice, revolution and political intervention, lyric theory or writing theoretically in different lyric modes, the epistemology of practice as research, gender and race and sexuality in corporeal and aesthetic acts of performance, and the practice of spectating.
Farokh Soltani is a researcher and teacher at the Royal Central School of Speech and Drama. He has also worked as a writer, sound designer, composer, theatre-maker and TV professional in his native Iran as well as the UK. He is the author of Radio/Body: Phenomenologies and Dramaturgies of Radio (2020).
Bambo Soyinka is a Professor of Story at Bath Spa University, and the Director of TRACE (The Research Centre for Transcultural Creativity and Education). She is the founder and Executive Development Producer of Paper Nations, a highly influential creative writing incubator. An award-winning writer, director and curator, Professor Soyinka has more than 20 years experience in multi-platform storytelling and production, and has initiated and directed numerous projects across the UK and internationally. In addition to her main academic duties and roles, Professor Soyinka is currently a board member for Arts Council England.
Caridad Svich is a Cuban-Argentine-Spanish-Croatian playwright, songwriter, editor and translator. She is the author of many plays and scholarly texts, and the recipient of the 2018 Ellen Stewart Award for Career Achievement in Professional Theatre from ATHE, a 2012 OBIE for Lifetime Achievement, and the 2011 American Theatre Critics Association Primus Prize.