This is Critical: Writing As/About Practice: A Creative Critical Writing Lab
18th Jun 2019 1:30pm - 19th Jun 2019 4:00pm
Book in: https://www.eventbrite.com/e/creative-critical-writing-lab-tickets-61485517839
The primary aim of the event is to inspire and help shape current and future written work through an extended workshop and foster an exchange of thoughts and a collaborative reading and writing through registers creative and critical. We hope to offer a ‘mode of creative participation and belonging’ as Laura Harris phrases it (Experiments in Exile, 2018), that encourages collaborative reinvention and exploration within and around current PhD and other research projects and works-in-progress. Using the mode of creative-critical writing (The Creative Critic: Writing as/about Practice, 2018) as an overriding theme for the event, we will discuss, challenge and embrace, on theoretical and practical levels, the possible forms of written submission for a PhD thesis as well as forms of writing for publication. We will ask: what is ‘good’ academic writing? And what does it mean to be critical?
This is Critical: Writing As/About Practice is an event designed not only for candidates at doctoral level, but other researcher-practitioners interested in creative-critical writing across all disciplines. The event is open to TECHNE researchers and associates at all TECHNE partnership institutions and other interested researchers everywhere.
The event will combine workshops and structured discussion. It will attended by a range of established artists, writers and researchers who will be circulating as respondents over the course of the event. It is funded by TECHNE. Please only book if you are certain to attend. Lunch is included on the 19th June. Please note that places are limited and TECHNE Scholars & Associates will be given priority booking.
Schedule
TUESDAY 18th June
1:30-2:00pm. Registration
2:00-3:00pm. Opening Ritual & Workshop
3:00-4:00pm. Roundtable: Why is this critical now? A discussion led by Emily Orley and PA Skantze
Break
4:30-5:30pm. Workshop: Writing at the Edges. Led by Katja Hilevaara
5.30. Celebration and informal discussion of theme over drinks followed by a meal (optional) in the local public house.
WENESDAY 19th June
10:00-11:00am. Group exercise: Re: Calling Our Writing
11:00-12:30am. Workshop: Creative Exchange. Led by Katja Hilevaara, Emily Orley & PA Skantze
12:30-1.30pm. Lunch
1:30-3:00pm. Workshop: Rising to the Challenge [or: Experiment Now!]
3:00-4:00pm. Closing Session
Participants
Katja Hilevaara is a collaborative artist, researcher and teacher who works in performance, installation, documentation and experimental writing. Her research is concerned with (mis-) remembering, creative constraint and ideas surrounding maintenance, care and enchantment. She co-edited The Creative Critic: Writing as/about Practice (Routledge, 2018) and lectures at Goldsmiths, University of London. (See www.katjahilevaara.com for more information)
Mathelinda Nabugodi completed a PhD in Creative Critical Writing at UCL. Her thesis offered a constellation of works by Percy Bysshe Shelley and Walter Benjamin. She is now at work editing Shelley’s translations from Aeschylus, Calderon and Goethe.
Emily Orley is a practitioner-researcher whose work over the last seventeen years includes performance, installation and art-writing. She recently co-edited The Creative Critic: Writing as/about Practice (Routledge, 2018). She is Senior Lecturer in Drama at the University of Roehampton, London. (See www.emilyorley.com for more information)
P. A. Skantze, Reader in Performance Practices at Roehampton University, directs theatre in Europe and the UK. She has written theory in pentameter, essays on the practice of spectating, black critical studies, gender and sound investigating what interventions performance can make to change the world in which we live. She is the author of Stillness in Motion on the Seventeenth Century Stage (Routledge 2003) and Itinerant Spectator / Itinerant Spectacle (punctum 2013). With her performance group Four Second Decay she has explored ‘Audible Montages,’ directed Anne Carson’s ‘Antigonick,’ peripatetically performed Orfeo and Eurydice ‘How to Save Someone You Can’t See’ and ‘Redistricting Hell’ through Greece. New work includes new forms of textual projection and playfulness in opera [Falstaff National Theatre of Croatia May 2018] as well as a forthcoming production of her musical ‘Stacks.’