Rebecca’s recent focus has been researching effective teaching methodologies for designers. The concept of developing ‘designer thinking’ amongst student scenographers formed the body of her PGCE thesis.
She is also developing an additional research theme of drawing as practice. In March 2016 she curated the Drawing Theatre Pamela Howard installation at AUB, which was the culmination of a very productive creative collaboration between Visiting Professor Pamela Howard OBE and the BA Costume and Performance Design course team and students.
Pamela’s belief in and passion for ‘the scenographic costume’ strongly influenced the specific and unique culture of the course. Rebecca edited and contributed to an accompanying publication.
This followed the collaborative exhibition between BA (Hons) Costume and Performance design, BA (Hons) Fashion and BA (Hons) Textiles, A Stitch in Line (November 2015). This exhibition examined stitch as a medium for creating art and was held in TheGallery at AUB.
Rebecca has recently been commissioned to write a book entitled The Costume Supervisor’s Toolkit: Supervising Theatre Costume Production from First Meeting to Final Performance. This work is the focus of an AUB research fellowship that she was awarded by AUB in 2016.
Drawing Theatre: Pamela Howard
Published 2016 (Editor) By text+work, TheGallery, Arts University Bournemouth. ISBN: 978-0-901196-72-9
Blue Pages: Journal for The Society of British Theatre Designers 2013 (Summer edition)
‘Exploitation or Opportunity?: the ethics of Higher Education Institutions promoting student/graduate volunteers’. This work was instigated to begin a conversation amongst the HE providers in performance and costume design to address the ethical issues of unpaid working practice within the performance industries.
The ‘Backstory’ case studies MoDIP website http://www.modip.ac.uk/resources/teaching/backstory-workshops
EG UK Theory and Practice of Computer Graphics (2010): John Collomosse, Ian Grimstead (Editors) Computer Modelling of Theatrical Sets.
Collomosse, J, Grimstead, I (Ed), (2010). Computer Modelling of Theatrical Sets. EG UK Theory and Practice of Computer Graphics (2010)
Theatre and Performance Research Association Conference (September 2010) (Scenography Working Group): Computer Modelling in the Set Design Workflow Rebecca Pride, Will Hargreaves and Ian Stephenson Arts University College, Bournemouth, UK National Centre for Computer Animation, Bournemouth University, UK
Dr. Jon Croose – Lecturer, Contextual Studies
Jon’s academic background is in Theatre, Performance and Cultural Studies. His inter-disciplinary PhD thesisThe Practices of Carnival: Community, Culture and Place (University of Exeter), brought together Performance Studies, Performance Anthropology and Cultural Geography approaches, in order to re-think arts-participation and arts-development within notions of the ‘cultural economy’.
Jon spent August 2016 in Brazil, talking to cultural officials, artists and performers about representations of Brazilian identity during the 2016 Rio Olympics. The project is part of an AUB Research Fellowship, and used a conversational, qualitative, interview-based methodology to explore how the arts community in Rio felt about the way Brazil was represented in the Olympic Opening Ceremony.
Jon conducted 20 interviews with artists involved in the Ministry of Culture occupation protest, with transgender artists, black artists, street performers, clowns and countercultural visual artists, as well as with Olympic cultural producers, in order to explore local attitudes to the Olympics, the influence of the political and social situation on Rio’s arts culture, and how art, protest and cultural performance expressed diverse notions of community, place and identity during the Olympic period.
This research aims to deepen and contemporise his 2014 doctoral study, which analysed data gathered during the Battle for the Winds street performances of the London 2012 Olympics.
His research is entitles: ‘Performing Diversity: Art, Culture and Contested National Identities during the 2016 Rio Olympics.’
‘Ear Trumpet: Investigations in Sonic Geology’. Theatre & Performance Design (Routledge), Special Issue: ‘Sounds good / Good vibrations’.
Gobbledegook Theatre’s Ear Trumpet is a site-responsive outdoor theatre performance in which a team of ‘sonic investigators’ have discovered pockets of sound, trapped in the Earth beneath our feet. The show allows audiences to listen using ear trumpets, a collection of recycled trumpets, trombones and gramophone horns that are repurposed as listening devices.
This article describes the aurality of Ear Trumpet through a qualitative, practice-led methodology of first-person performance-as-research, artist interviews, and analysis of audience response. The article considers Augoyard and Torgue’s notion of ‘sharawadji’ in Ear Trumpet, arising, the author argues, through a combination of the sonic effects of anamnesis, decontextualization, delocalization, attraction, phototonie and quotation.
The article considers how Ear Trumpet positions the relationship between ‘physical environment, the socio-cultural milieu, and the individual listener’ and reveals how participants’ suspension of disbelief in the pseudo-science of ‘sonic geology’ allows them to posit multiple ‘historic dimensions of sound’ in a way that reframes their everyday soundscape and ‘magically and suddenly transports [them] elsewhere’.
Finally, the paper raises questions about the effect of sharawadji in terms of the tension between theatrical illusion, ‘belief’ and critical distance among audiences, and considers a politics of aurality in performance contexts.
Knowledge Exchange (KE) is one of the things that the AUB staff and students do really well. To gain a competitive edge, quality and artistic integrity more and more performing art projects are benefitting from working with students and universities. Adele sees great potential in the role Higher Education can play within the performing arts and is an advocate to see more collaborations and partnerships with industry.
A great deal of this impact goes unrecorded and capturing this data is an essential part of promoting Knowledge Exchange and is significance in Higher Education. Adele is researching the impact of KE in the region and how the transfer pathways can be more effectivity channelled.
Her current research question is. How and why do Specialist Arts Higher Education and Land-based arts collaborate with one another for to produce creative output. What is the impact of these collaborations and can we observe the mutual benefits.
In Adele’s work as a costume designer she focuses on the use of digital design and how it can enhance and refine the communication of costume designs.
With a strong emphasis on using the digital platform as an alternative canvas, Adele is particularly interested in the fusion of digital and analogue mark making and the integration of digital tools to create the seamless expression of ideas.
In 2008 Adele gained a distinction for her Masters Degree in Digital Platforms for Design Communications.
She went on to publish her findings in ‘The digital platform as a communication tool‘, in White, C (ed.) Directors and Designers, Bristol: Intellect, pp. 149 – 159 and Keeley, A (2010) The digital platform for costume design communication, International Journal of Performance Arts and Digital Media, 6:1, (pp 41 – 48).
Adele creates digital images of period corsets for Mandy Barrington’s book Stays and Corsets: Historical Patterns Translated for the Modern Body (2015.
Having completed her Masters Degree in 2014, Mandy has continued her research into proportion and historical pattern drafting, producing a pattern system that enables the production of accurate garments from original stays and corsets.
Her book Stays and Corsets Historical Patterns Translated for the Modern Body, was published by Focal Press in December 2016.
The book provides a method of pattern drafting to produce historical stays and corsets spanning 1735 to 1900. Many of the garments are from unseen collections and provide new patterns for the reader. The step-by-step instructions, calculations and clear diagrams support the production of an accurate period pattern.
Historical stays and corsets were constructed to control the body and to alter its natural shape, providing a new silhouette. The benefit of flat pattern drafting stays and corsets, rather than cutting them in 3D on a mannequin, is that the reader is not restricted by the contours of the mannequin.
Flat pattern drafting will enable them to alter the silhouette of the wearer. Mandy is currently writing a proposal for a second volume of Stays and Corsets.
M. Barrington Stays and Corsets Historical Patterns Translated for the Modern Body. New York: Focal Press.
Will’s background is in theatre design and he has created set and costume designs for classic texts, new writing, opera, musicals, and pantomimes at theatres throughout the UK and in London’s West End.
His current research includes investigations into sustainability in the entertainment industry. His most recent research in practice involves designs for the plays This Flesh is Mine and When Nobody Returns by Brian Wolland, based on Homer’s Illiad and Odyssey respectively.
This was a site specific co-production between Border Crossings and the Palestinian Theatre company Ashtar and the plays were performed in the Acklam Village theatre space at Portobello Road as part of the Nour Festival of Middle Eastern Arts and Culture in Oct/Nov 2016.
Bunny Winter – LECTURER, Design
Bunny is currently undertaking a Masters in Creative Professional Practice at Portsmouth University which will focus on her teaching methods within the genre of costume design.
In her final unit she aims to push the boundaries of backstory and semiotics with regards to character costume. She will also investigate how to raise the importance of the role within the industry as a whole and how to encourage more male students to join a predominantly female environment.
Bunny’s most recent research has been centred around the Jacobean period having now created costume designs for Level 5 students to interpret. Bedlam (with Will Hargreaves) combined period cut with Gotham City elements and The Tempest, which is heavily textile based in its design, lent itself to an historical yet conceptual vision.
The former featured in an exhibition curated by Will Hargreaves in the Gallery at the AUB entitled Shakespeare 400. Both projects have featured BA Acting who were cast various roles.
Sarah Magill, Lecturer Interpretation
Sarah has just written a book, Making Vintage 1940s Clothes for Women, for which she received an AUB research fund. The book will be published in 2017 and aims to teach period sewing methods through the construction of reproduction 1940s garments.
It also aims to give the reader a better understanding of how economising measures during the war affected the manufacture and acquisition of clothing. In conjunction with this, Sarah also recently used her ongoing research to inform a set of 1940s costume designs for Level 4 costume students to interpret.
The project culminated in a live flash mob performance on university campus, attended by the author Julie Summers (Jambusters, Fashion on the Ration).
Sarah has a keen interest in the cut and construction of historical women’s dress, particularly that of the first half of the twentieth century. She is specifically interested in the impact of government directives on the cut and construction of women’s dress during the Second World War.
Particularly those that dictated production methods and consumption patterns of dress in this period, including clothes rationing, the Utility scheme and austerity regulations.
Wayne Martin, Senior LECTURER, INTERPRETATION
Wayne’s research interests focus on the cut and construction of historical dress. With a background as a theatrical cutter in theatre and film and currently as a senior lecturer in interpretation at AUB, his current research interests involve transferable skills in historical cutting and construction techniques. Further emphasis has been on demonstration and proficiency in fit, silhouette and skilful manipulation of fabrics.
Recent research projects have included part curatorship of an exhibition for Bournemouth’s Symphony Orchestra’s rendition of Diaghilev’s The Firebird 2016 and creating a 21st century mourning dress for the AUB Gallery’s Stitch in Line exhibition 2015.
Summer 2015 also saw the realisation of a research project, Royal Blood, tracing the bloodline of British kings. AUB costume students worked in collaboration with Hampshire Museum Trust, where students recreated historical dress of from the early Roman settlers to the reign of King Charles I.
His current projects include designing principal costumes for Oxford Playhouse production of Cinderella. He is also researching Victorian Valentine cards at the Priory Museum, Wimborne, developing into the creation of a bridal gown to be part of a static installation at the museum from February 14th 2017.
Current practice includes preparation for a Masters in Creative Professional Practice at the University of Portsmouth, focusing on the social and historical dress of oppressive Victorian mourning through to the more sanitised ritual of 21st century attitudes to mortality.
katerina lawton, LECTURER, INTERPRETATION
Katerina is currently embarking on an MA in Creative Professional Practice at the University of Portsmouth. The emphasis of Katerina’s proposed learning will be research into professional teaching practices, particularly in Tailoring and Pattern Drafting.
Katerina’s research has been focused on traditional, vintage tailored pattern instruction, terminology and systems used to draft male patterns. Katerina utilises areas of her professional practise as a research tool to generate new skills and insight through experimentation and historical research, producing a series of generic patterns for both student and professional tailor.
The results from Katerina’s current research shows that it is particularly challenging for students to use old traditional tailored pattern drafting books due to archaic terminology and different systems of pattern drafting. She has undertaken experiments of technique, producing tailored patterns with instructions that are easier to follow and are able to aid students with learning difficulties.