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Portrait of Professor Franc Chamberlain Professor Franc Chamberlain

F.Chamberlain@hud.ac.uk | 01484 478406



Biography

I joined the University of Huddersfield as Professor of Drama in January 2012. I was previously at the National University of Ireland – Cork (University College Cork) from 2005 and was Head of Department when I left at the end of 2011. From 1991-2005 I was at the University of Northampton where I was Course Leader for the innovative BA(Hons) Performance Studies course between 1994 and 2001. Since 2008 I have held the post of Visiting Professor in Performance Studies and Creative Practice at Northampton. I have also held posts at the University of East Anglia, Derby Tertiary College, NORCAT (King Lynn) and have been a guest lecturer at a variety of institutions from the University of Malta to King’s College, Cambridge.

From 1986-89 I was a self-employed Performance Specialist enaged in a wide variety of projects including devised physical performance, clowning, storytelling, devising staff training programmes for companies such as The Body Shop, and running workshops in prisons, adult education centres, a drug and alcohol resources centre, and a centre for excluded pupils.

Prior to studying for a first degree in Drama (with Philosophy) at UEA in 1983, I created solo performances and worked with little known fringe theatre companies such as The Raging Id. I also worked as an ASM and theatre technician at a multi-function arts centre.

My training in skills has been ongoing for the past thirty-five years and has involved one-day workshops through to regular trainings extended over several years.

Research & Scholarship

I have a number of research strands and projects which congregate around a network of issues and processes of creativity, devising, improvisation, pedagogy and health. I am partly concerned with the impediments to these processes and ways of overcoming them although that is often an implicit rather than explicit condern in my publications. These questions inform my practice-as-research work as well and also my pedagogy.

I have published on the work of theate pedagogues such as Michael Chekhov, Jacques Lecoq, Etienne Decroux and Eugenio Barba but also on themes such as Theatre and Ecology, First-person perspectives and Physical Theatre.

Publications and Other Research Outputs

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Mike King, of the Centre for Post-secular Studies in London, however, uses post-secularism in a way that may be more helpful in understanding some contemporary trends in art and the wider culture. King sees the post-secular as involving a renewed interest in questions of spirituality, combined with recognition of the importance of the rights and freedoms that resulted from the process of secularization in Europe. Post-secularism in this sense isn’t an attempt to return to a pre-secular religious worldview, which would be a fundamentalist approach, but a relaxed and open approach to spiritual inquiry. In the spirit of such an inquiry I discussed questions of spiritual and artistic practice, individually, with four British artists: Julia Lee Barclay, Ansuman Biswas, Traci Kelly, and Kira O’Reilly.', 'creators_id' => 'f.chamberlain@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '6', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '3', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => '31', 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2009', 'status_changed_hour' => '12', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '20018' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => '1397739513', 'creatorlist' => { '0' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Chamberlain', 'eprintid' => '20018', 'creators_name_honourific' => '', 'pos' => '0', 'creators_name_given' => 'Franc', 'creators_id' => 'f.chamberlain@hud.ac.uk' } }, 'exhibitors_id' => undef, 'latitude' => undef, 'replacedby' => undef, 'status_changed_month' => '4', 'editors_name_honourific' => '', 'admin_note' => undef, 'event_title' => undef, 'date_type' => 'published', 'pres_type' => undef, 'longitude' => undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'no', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2014', 'fileinfo' => '', 'status_changed_second' => '42', 'exhibitors_name_honourific' => undef, 'editors_id' => 'j.w.britton@hud.ac.uk', 'title' => 'Michael Chekhov's Ensemble Feeling', 'corp_creators' => undef, 'contributors_name_given' => undef, 'alt_title' => undef, 'contributors_name_family' => undef, 'sponsors' => undef, 'output_media' => undef, 'editors_name_lineage' => '', 'dir' => 'disk0/00/02/00/18', 'overlay_journal_id' => undef, 'gscholar_datestamp_year' => undef, 'ispublished' => 'pub', 'item_issues_count' => '0', 'conductors_name_given' => undef, 'sword_depositor' => undef, 'full_text_status' => 'none', 'lastmod_minute' => '1', 'refereed' => 'TRUE', 'contact_email' => 'j.w.britton@hud.ac.uk', 'copyright_holders' => undef, 'date_day' => undef, 'gscholar_impact' => undef, 'official_url' => undef, 'succeeds' => undef, 'datestamp_month' => '4', 'commentary' => undef, 'lastmod_day' => '17', 'publisher' => 'Bloomsbury Methuen', 'pagerange' => '78-93', 'include_in_pedagogical' => 'no', 'task_purpose' => undef, 'status_changed_year' => '2014', 'book_title' => 'Encountering Ensemble', 'thesis_name' => undef, 'event_location' => undef, 'type' => 'book_section', 'publication' => undef, 'lastmod_second' => '42', 'place_of_pub' => 'London, UK', 'contributors_name_honourific' => undef, 'gscholar_datestamp_day' => undef, 'issn' => undef, 'datestamp_hour' => '13', 'exhibitors_name_given' => undef, 'creators_name_family' => 'Chamberlain', 'composition_type' => undef, 'producers_id' => undef, 'datestamp_second' => '42', 'note' => undef, 'edit_lock_until' => '0', 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => undef, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '20018', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2014', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => 'John', 'isbn' => '978-1-4081-5200-3', 'include_in_cv' => 'yes', 'editors_name_family' => 'Britton', 'lastmod_month' => '4', 'event_dates' => undef, 'fulltimestamp' => '20130000', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '13', 'number' => undef, 'rev_number' => '7', 'edit_lock_user' => '6', 'series' => 'Performance Books', 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Franc', 'exhibitors_name_lineage' => undef, 'divisions' => 'mh', 'institution' => undef, 'subjects' => 'NX', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '1', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => undef, 'importid' => undef, 'status_changed_day' => '17', 'datestamp_day' => '17', 'abstract' => 'I'd suggest that Chekhov is generally thought of as paying particular attention to the individual's creative imagination rather than to the ensemble. In To the Actor, for example, there is very little discussion of ensemble. Chapter 3 is entitled 'Improvisation and Ensemble' but there is very little explicit focus on the ensemble. This explicit emphasis on the individual is there in Lessons for the Professional Actor (du Prey ed,1985), and Lessons for Teachers of his Acting Technique (du Prey, ed, 2000) -- and I think that this is also true of The Path of the Actor (2005). Recent publications on Chekhov (Petit, 2010; Ashperger, 2008) also focus on the individual actor. There is no index reference to 'ensemble' in Chekhov's work in either version of my essay in the First & Second editions of Hodge's book (1999, 2010) -- but there are in my Michael Chekhov (2004). This explicit emphasis on the individual, I would argue, isn't made in opposition to an emphasis on ensemble, rather Chekhov's work focuses on a network of relationships which might also be termed 'ensembles'. The importance of the ensemble is a given for Chekhov and his exercises in improvisation, atmosphere, Feeling of the Whole etc are ways of developing effective ensemble practices. I don't think that is a particularly difficult point to argue and one piece of evidence would be the reviews of Chekhov's production of The Possessed on Broadway (1939). The Possessed had a poor critical reception but one thing the critics seemed to agree on was the strength of the ensemble (Chamberlain 2004 p.91) -- although some of them read it through a suspicion of ensemble work. 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First performed in Athens roughly 2468 years ago The Oresteia dramatizes a change in notions of justice from blood revenge to trial by judge and jury. In the three plays of the trilogy, the shift to a democratic judicial system brings to an end the curse of the House of Atreus and its sequence of revenge killings. Where it all began: It is said that Tantalus feasted with the gods and stole the divine nectar and ambrosia and was banished from Olympus. Inviting the gods to dine with him, he served them a stew made from his son Pelops (some say from his whole family) to test the gods’ omniscience. Of course they noticed and Tantalus was punished by being placed in the deepest pit of Hades where he still stands in a pool of water with a fruit tree above his head. When he reaches for the fruit the branches stretch away. When he dips for the water, it recedes of of reach. Tantalus’ son Pelops was resurrected by the gods and had twin sons, Atreus and Thyestes, who murdered their brother Chrysippus, heir to Pelops’ throne, and were banished. The twins became joint regents of Mycenae/Argos but then quarreled over who should be king. Atreus discovered that his wife was having an affair with Thyestes and took revenge by killing Thyestes sons and serving them to him in a meal. Thyestes was banished and had another son, Aegisthus, by his daughter. Aegisthus’ mother, guilt-ridden, abandoned her baby on a mountain and he was found by a shepherd and taken to Atreus who brought him up as his own son. When he came to adulthood Aegisthus discovered his true parentage and killed Atreus. Atreus, however, had two sons who survived him: Agamemnon, who married Clytemnestra, and Menelaus, who married Clytemnestra’s sister, Helen. When Helen was abducted by Paris and taken back to Troy, the two brothers put together a task force to bring her back. Before the ships could sail, though, Agamemnon had to sacrifice his daughter Iphigenia to the goddess Artemis. 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'date_year' => '2009', 'status_changed_hour' => '10', 'gscholar_cluster' => undef, 'producers_name_family' => undef } };

2013

Chamberlain, F (2013) ‘Michael Chekhov's Ensemble Feeling’. In: Encountering Ensemble. London, UK: Bloomsbury Methuen. pp. 78-93. ISBN 978-1-4081-5200-3

2012

Chamberlain, F (2012) ‘“Paper Without a Title” ’. In: Annual Postgraduate Conference in the Arts, 10th - 12th September 2012, Northampton, UK

Chamberlain, F. and Smith, L. (2012) ‘Performing Ritual Autobiography: the re-imagination of personal identity ’. In: Performing Rituals, 5th - 8th September 2012, Aberystwyth, Wales

Chamberlain, F., Lavery, C. and Yarrow, R. (2012) ‘Steps Towards an Ecology of PerformanceUniversity of Bucharest Review. Literary and Cultural Studies Series , 14 (1), pp. 6-38. ISSN 2069-8658

Middleton, D. and Chamberlain, F. (2012) ‘Entering the Heart of Experience: First Person Accounts in Performance & SpiritualityPerformance and Spirituality , 3 (1). ISSN 2157-4049

Chamberlain, F (2012) ‘Playing With Awareness/Who's Aware? ’. In: Body and Awareness, 25th - 27th May 2012, University of Zadar, Croatia

Chamberlain, F., Lavery, C. and Yarrow, R. (2012) ‘Steps Towards an Ecology of Performance’. In: (M)other Nature? Inscriptions, Locations, Revolutions, the 14th Annual Conference of the English Department, Literature and Cultural Studies Section, University of Bucharest, 31st May - 2nd June 2012, Bucharest, Romania

2011

Chamberlain, F. and Pavón, I.(2011) Remembering Ivanov [Show/Exhibition]

2010

Chamberlain, F (2010) Blood on the carpet [Show/Exhibition]

Chamberlain, F. and Godfrey, J. (2010) ‘Scores: Suggestive Phantasms’. In: Scores: Suggestive Phantasms’, 10th November 2010, Cork, Ireland

Chamberlain, F (2010) Dunes [Show/Exhibition]

Chamberlain, F (2010) ‘Michael Chekhov on the Technique of Acting: Was Don Quixote True to Life? ’. In: Actor Training. London, UK: Routledge. pp. 63-80. ISBN 978-0-415-47167-1

Chamberlain, F (2010) The Dream Play [Show/Exhibition]

2009

Chamberlain, F (2009) ‘Interview with Mojisola Adebayoissuu .

Chamberlain, F (2009) Traces of Performance [Show/Exhibition]

Chamberlain, F (2009) ‘Introduction to On the Art of Theatre’. In: On the Art of the Theatre. London, UK: Blackwell. p. vii-xvi. ISBN 9781115985932

Chamberlain, F (2009) ‘Review of: The Rhythm of Space and the Sound of Time: Michael Chekhov’s Acting Technique in the 21st Century by Cynthia Ashperger, Rodopi, Amsterdam and New York, NY, 2008 978-90-420-2387-1. Leonardo Reviews .

Chamberlain, F (2009) ‘Craig and early modernism’. In: Origins of English Dramatic Modernism, 1870 - 1914. Palo Alto, CA, USA: Academica Press. pp. 171-184. ISBN 9781933146669

Chamberlain, F (2009) Without make-up [Show/Exhibition]

Chamberlain, F (2009) ‘Michael Chekhov et la question de la créativité’. In: Mikhail Tchekhov du Moscou à Hollywood, du théâtre au cinéma. Paris, France: L'Entretemps. pp. 233-241.

Chamberlain, F (2009) ‘Playing with post-secular performancePAJ , 31 (1), pp. 54-67. ISSN 1520-281X

2008

Chamberlain, F (2008) Medea [Show/Exhibition]

Chamberlain, F. and Leabhart, T. (2008) ‘Introduction to The Decroux Sourcebook’. In: The Decroux Sourcebook. London, UK: Taylor & Francis. pp. 1-23. ISBN 978-0-415-47800-7

Chamberlain, F (2008) Female Parts [Show/Exhibition]

Chamberlain, F (2008) Come and go [Show/Exhibition]

Chamberlain, F (2008) ‘Creativity, automata, uber-marionettes’. In: Performing Science, 2008, Birmingham, UK

2007

Chamberlain, F (2007) Beatrice [Show/Exhibition]

2006

Chamberlain, F (2006) Love is... [Show/Exhibition]

Chamberlain, F (2006) Telling [Show/Exhibition]

2005

Chamberlain, F (2005) The Public [Show/Exhibition]

Esteem

Editorships:

2010--present:     Co-editor (with Gareth Somers) The Journal of Perfomance and Ecology (not yet launched).

2005--2012:         Series Editor, Routledge Theatre Sourcebooks, Abingdon: Routledge (3 volumes published).

2000- 2012:         Series Editor, Routledge Performance Practitioners, Abingdon: Routledge (20 volumes).

1992-1999:          Editor-in-Chief, Contemporary Theatre Review, Amsterdam: Harwood Academic Press (12 Volumes/40 issues).

1992-1999:          Editor-in Chief, Contemporary Theatre Studies, Amsterdam: Harwood Academic Press  (42 volumes).

Current Membership of Editorial Boards:

Choreographic Practices (Intellect). (2010-present)
Theatre Dance and Performance Training (Routledge). (2010-present)
Total Theatre. (c2000-2007)
Performance and Spirituality. (2009-present)
Performing Ethos: An International Journal of Ethics and Performance (2012-present)

Recent Grants: (since 2001)

2011:                     (with Nicole Kennedy and Nuala Walsh) UCC President’s Award for Research on Innovative Forms of Teaching and Learning (€2,000)

2009:                      National Academy for the Integration of Research, Teaching and Learning  (NAIRTL) funding (€5,000) for ‘Embedding Practice as                                Research (PaR) Methodologies into the DTS Undergraduate Curriculum’.

2003 – 2008:         AHRB/AHRC funding (£44,700) for collaborative project with Ralph Yarrow (UEA) and Frances Babbage (Leeds) for: ‘Pan Centre's Vidya comes to life: evaluation, analysis and dissemination’.

2001                      Joint AHRB/UCN funded sabbatical (January-September) to research Michael Chekhov book for Routledge.


External Examining:

2008-2012           BA Theatre and Performance/BA Dance Theatre/MRes, University of Plymouth.

2005--2009:         MA Practical Performance, University of Chester.

2002--2005:         BA Modern Drama Studies, Brunel University.

2002--2006:         BA Acupuncture Oxford Brookes/College of Chinese Medicine.

2000--2005:         MA Theatre, Text, Production, and MA Theatre and Development,University of East Anglia.

1998--2002:         BA Theatre and Professional Practice, Coventry University.

1998--2002:         BA Performing Arts, University of Sunderland.

External Committees:

2007--2008:         International Member of SCUDD working group on standards in the external examining of ‘Practice as Research’ PhDs.

2005--2006:         International Member of SCUDD/HEFCE working group on External Examining processes in Drama.

2003--2005:         Vice - Chair of SCUDD.

2000:                   Member of National Benchmarking Group Advisory Panel for Dance, Drama and Performing Arts.

1999:                   Member SCUDD sub-committee on National Benchmarking.

Research Degree Supervision

2011-present: International member of steering group for Action, Scene, Voice: Ongoing Dialogues with the work of Edward Gordon Craig conference, Pomona College, CA (2013)

2005: External consultant to Dartington CA/Dartington Hall Trust committee organising Michael Chekhov Anniversary symposium.

2005: Co-organiser of SCUDD/SCODHE conference, Northampton.

1990: Member of steering group for Shadow of Spirit conference, King’s College, Cambridge (with: Philippa Berry, Theresa Brennan, Ralph Yarrow, Andrew Wernick).

External PhD Examining

I’ve externally-examined PhD candidates for Glasgow, Edinburgh, Winchester, Exeter, Royal Holloway and Middlesex Universities, and Dartington College of Arts (University of Plymouth).

Administrative Responsibilities

I I’m currently both Subject Leader and Research Co-ordinator for Drama and am a member of a number of committees including Senate, University Teaching and Learning Committee, and the School Research Committee

Teaching and Professional Activities

AHD3200: Critical Context: Perspectives on Contemporary Drama, Theatre and Performance
AHD3303: Practice Analysis: Final Year Project
AID2108: Models and Theories of Performance Practice 2
AID2233: IN Context

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