Recent Submissions

  • Enhanced erythrocyte antioxidant status following an 8-week aerobic exercise training program in heavy drinkers

    Jamurtas, Athanasios Z; Georgakouli, Kalliopi; Manthou, Eirini; Georgoulias, Panagiotis; Deli, Chariklia; Koutedakis, Yiannis; Theodorakis, Yannis; Fatouros, Ioannis (American College of Sports Medicine, 2018-05-31)
    Alcohol-induced oxidative stress is involved in the development and progression of various pathological conditions and diseases whereas exercise training has been shown to improve redox status, thus attenuating oxidative stress-associated disease processes. PURPOSE: to evaluate the effect of an exercise training program on blood redox status in heavy drinkers. METHODS: Eleven sedentary, heavy drinking men participated in an intervention where they completed an 8-week supervised aerobic training program of moderate intensity. Blood samples were collected before, during (week 4) and after intervention and analyzed for total antioxidant capacity (TAC), thiobarbituric acid reactive substances (TBARS), protein carbonyls (PC), uric acid (UA), bilirubin, reduced glutathione (GSH) and catalase activity. RESULTS: Catalase activity increased (p<0.05) after 8 weeks (340.7+13.3 U mg/Hb) of intervention compared to week 4 (299.5+18.7 U mg/Hb). GSH increased (p<0.05) after 8 weeks of intervention (1.22+0.16 μmol/g Hb) compared to the control condition (1.11 + 0.17 μmol/g Hb) and to week 4 (1.11 + 0.15 μmol/g Hb ). TAC, UA, bilirubin, TBARS and PC did not significantly change at any time point. CONCLUSION: An 8-week aerobic training program enhanced erythrocyte antioxidant status in heavy drinkers, indicating that aerobic training may attenuate pathological processes caused by alcohol-induced oxidative stress.
  • SOLUS: An Online Audiovisual Installation (NIME2020 installation proposal)

    Dalgleish, Mat (Birmingham City University, 2020-07-21)
  • Disrupting heteronormative temporality through queer dramaturgies: Fun Home, Hadestown and A Strange Loop

    Whitfield, Sarah (MDPI, 2020-12-01)
    This article considers how André De Shields performance in Hadestown (2019), and the musicals Fun Home (2015) and A Strange Loop (2019) can be seen to respond to the ‘quagmire of the present’ (Mũnoz, 2009 1): and argues that they disrupt heteronormative temporality through queer dramaturgy. It explores musicals that present queer performativity and/or queer dramaturgies, and addresses how they enact queer strategies of resistance through historical materialist critiques of personal biographies. It suggests that to do this, they disrupt the heteronormative dramaturgical time of the musical, and considers how utopian ‘small but profound moments’ (Dolan 2005, p. 6) may enact structural change to the form of the musical. The article carries out a close reading of De Shields’ performance practice, and analyses the dramaturgy of Fun Home and A Strange Loop through drawing on the methodologies of José Mũnoz (2009) and Elizabeth Freeman (2010). It considers how they make queer labour visible by drawing on post-dramatic strategies, ultimately suggesting that to varying extents, these musicals offer resistance to the heteronormative musical form.
  • Je suis Katie – free speech in post-truth verbatim musical theatre

    Chandler, Clare (American Theatre and Drama Society, 2018-10-26)
  • Musical Theatre Composition: how Digital Broadway has changed ‘What’s Inside’

    Chandler, Clare; Scheuber-Rush, Simeon (Association for Theatre in Higher Education, 2018-08-01)
    Song form, structure, function and ideology are culturally and genre specific. Boiled down to its most basic elements, a pop song is about emotional connection and engagement, whereas its musical theatre cousin is concerned with narrative progression; ‘pop songs are to adjectives what musical theatre songs are to verbs.’ (Lambert, 2015) Lambert articulates a binary perspective on genres, which are actually overlapping in unprecedented ways, in terms of authorship, style, means of distribution, and popularity. This paper explores, not the distinctions, but the points of contact between song forms, with a view to understanding the current creative moment, and, perhaps, anticipating future trends. In contemporary popular music, ‘There are no longer subjective gatekeepers controlling who gets let “in”, promoted and exposed. The choice is ours. Now, anyone can be famous.’ (Price, 2011). This is a transformation also evident in musical theatre, where an upsurge in ‘YouTube musical theatre composers’ (Pasek & Paul, 2015) and social media engagement challenges the dominance of the book musical. If humans on-line have an average attention span of 8 seconds (Riecke-Gonzales, 2015), for example, this paper considers how musical theatre is evolving to meet the requirements of millennials.
  • ‘Does anybody have a map?’ The impact of ‘Virtual Broadway’ on musical theatre composition

    Chandler, Clare; Scheuber-Rush, Simeon (Song, Stage and Screen, 2017-06-19)
    In contemporary popular music, ‘There are no longer subjective gatekeepers controlling who gets let “in”, promoted and exposed. The choice is ours. Now, anyone can be famous.’ (Price, 2011). This is a transformation also evident in musical theatre, where an upsurge in ‘YouTube musical theatre composers’ (Pasek & Paul, 2015) and social media engagement challenges the dominance of the book musical. Opportunities for self-promotion on the internet are vast, and allow composers to reach a more diverse audience, but in what ways do these emerging opportunities also influence the form of works produced. For instance, online audiences often lack time to invest emotionally in a long theatrical piece, and prefer songs that deliver similar emotional arcs in condensed form. If humans on-line have an average attention span of 8 seconds (Riecke-Gonzales, 2015), for example, this paper considers how musical theatre might evolve to meet the requirements of millennials. The growing popularity of Dear Evan Hansen, arguably the first truly ‘digital age’ musical (Takiff, 2016), provides a present instance of the impact of ‘virtual Broadway’ (Pasek & Paul, 2015) on the musical theatre model. It is both possible and timely to debate the extent to which this hybrid has ‘democratized access to creation and distribution tools’ (Bhargava and Klat, 2017), allowing new voices and models to break through, or has actually limited the genre’s scope.
  • ‘Learn To Do It’ – performer training across the pedagogies

    Chandler, Clare; Griffiths, Rachel (TaPRA, 2018-09-05)
  • A space has been made: revealing bisexual+ stories in musical theatre

    Whitfield, Sarah (John Hopkins University Press, 2020-12-01)
  • IV—Philosophical foundations of anti-casteism

    Dhanda, Meena (Oxford University Press (OUP), 2020-04-27)
    The paper begins from a working definition of caste as a contentious form of social belonging and a consideration of casteism as a form of inferiorization. It takes anti-casteism as an ideological critique aimed at unmasking the unethical operations of caste, drawing upon B. R. Ambedkar’s notion of caste as ‘graded inequality’. The politico-legal context of the unfinished trajectory of instituting protection against caste discrimination in Britain provides the backdrop for thinking through the philosophical foundations of anti-casteism. The peculiar religio-discursive aspect of ‘emergent vulnerability’ is noted, which explains the recent introduction of the trope of ‘institutional casteism’ used as a shield by deniers of caste against accusations of casteism. The language of protest historically introduced by anti-racists is thus usurped and inverted in a simulated language of anti-colonialism. It is suggested that the stymieing of the UK legislation on caste is an effect of collective hypocrisies, the refusal to acknowledge caste privilege, and the continuity of an agonistic intellectual inheritance, exemplified in the deep differences between Ambedkar and Gandhi in the Indian nationalist discourse on caste. The paper argues that for a modern anti-casteism to develop, at stake is the possibility of an ethical social solidarity. Following Ambedkar, this expansive solidarity can only be found through our willingness to subject received opinions and traditions to critical scrutiny. Since opposed groups ‘make sense’ of their worlds in ways that might generate collective hypocrisies of denial of caste effects, anti-casteism must be geared to expose the lie that caste as the system of graded inequality is benign and seamlessly self-perpetuating, when it is everywhere enforced through penalties for transgression of local caste norms with the complicity of the privileged castes. The ideal for modern anti-casteism is Maitri (friendship) formed through praxis, eschewing birth-ascribed caste status and loyalties.
  • Kantian forgiveness: fallibility, guilt and the need to become a better person: reply to Blöser

    Satne, Paula (Springer Science and Business Media LLC, 2020-03-10)
    In ‘Human Fallibility and the Need for Forgiveness’, Claudia Blöser (Philosophia 47:1-19, 2019) has proposed a Kantian account of our reasons to forgive that situates our moral fallibility as their ultimate ground. Blöser argues that Kant’s duty to be forgiving is grounded on the need to be relieved from the burden of our moral failure (guilt), a need that we all have in virtue of our moral fallible nature, regardless of whether or not we have repented. Blöser claims that Kant’s proposal yields a plausible account of the normative status of forgiveness. Kant classifies the duty to be forgiving as a wide (imperfect) duty of virtue, and according to Blöser, this means that Kantian forgiveness is elective in the sense that forgiveness is good in general (i.e. an attitude that we have moral reason to adopt) but without being obligatory in each particular case. In the course of presenting her own reconstruction of Kant’s account, Blöser also objects to some aspects of an interpretation of Kant’s theory of forgiveness which I had previously defended in my paper ‘Forgiveness and Moral Development’ (Philosophia 44:1029–1055, 2016). Although there are a lot of points of agreement between our interpretations, the aim of this article is to highlight four key points of disagreement. These issues are worth discussing because they have implications not only for a plausible interpretation of a recognisable Kantian account of forgiveness but also for wider debates in the contemporary literature on forgiveness. First, I show that Kant is not committed to a form of weak situationism as suggested by Blöser and that Kant’s grounding of the duty to be forgiving does not appeal to moral luck. Second, I argue that although Kant’s duty to be forgiving is elective in one sense of the term, it is not elective in another important sense of the term, and that it is in fact better not to interpret Kantian imperfect duties as being elective. Third, I show that awareness of moral fallibility per se does not provide a morally appropriate ground for forgiveness and offer an alternative reconstruction of Kant’s account- in which fallibility plays a role, but it is not the main reason to forgive. Finally, I argue that Blöser’s account of the need to be forgiven is not recognisable Kantian because, from a Kantian perspective, repentance is a necessary condition for the desirability and, in fact, the very possibility of ameliorating our own guilt.
  • Play time: Gender, anti-semitism and temporality in medieval biblical drama

    Black, Daisy (Manchester University Press, 2020-08-01)
  • Identity: Being-in-the-world and becoming

    Dhanda, Meena; Garchar, Kimberley; Shew, Melissa (Oxford University Press, 2020-12-01)
  • Sound objects: Towards procedural audio for and as theatre

    Whitfield, Sarah; Dalgleish, Mat; Toulson, Rob; Paterson, Justin; Hepworth- Sawyer, Russ (Routledge, 2020-06-01)
    Procedural audio has been the subject of significant contemporary interest, but prior examples in relation to theatre sound are limited. After providing background to theatre sound and procedural audio, we introduce two artefacts, RayGun and INTERIOR, that explore issues around theatre sound. RayGun is an augmented prop prototype that uses sensor driven, procedurally generated and locally diffused sound to address prior deficiencies. INTERIOR reimagines Maurice Maeterlinck’s 1895 play Interior as an embedded, generative and largely procedurally generated audio play housed in a shortwave radio-like artefact. Intended to provide an accessible experience, the listener uses a single knob interface to scan through a soundscape of simulated radio stations and ‘find’ the play. We present some initial findings and conclude with suggestions for future work.
  • Stanislavski’s creative state on the stage. A spiritual approach to the “system” through practice as research

    Curpan, Gabriela (Taylor & Francis, 2020-01-13)
    This article is a continuation of a previously published one and talks about my own research project, with a focus on various meditation techniques, used as un underlying principle of breath to observe possible spiritual ways of preparing the actor towards what Stanislavski defines as the creative state or as experiencing ‘the life of the human soul’ on the stage. Following the odyssey of the artist from being oneself to becoming the character, my practice as research looks upon how certain spiritual ways (such as meditation) might contribute to their artistic development. It also draws attention on the strange similarities between Christian Orthodox ideas, the Zen Buddhist state of ‘enlightenment’/ ‘zanmai’, and the Stanislavskian creative state.
  • Interview with Margret Meagher

    Prior, Ross W (Intellect, 2019-07-01)
  • Afterword: towards a future paradigm

    Prior, Ross W; Mateus-Berr, Ruth; Jochum, Richard (De Gruyter, 2020-05-01)
    The use of art as research has greatly matured, and, despite the current preoccupation with measurement in the education sector, artistic research has continued to gain acceptance as a legitimate methodology for artists. Yet art-based research is still not completely and universally embedded within higher education learning and teaching approaches. The field’s continued lack of confidence in using art as a vehicle of research is one reason. There is a need to stop relying upon other disciplines to justify the power of art. If we acknowledge that words cannot always reveal the uniquely felt qualities of art, then we cannot persist in using words as exclusive modes of research. Personal, embodied ways of knowing are of interest to researchers, and values the importance of knowledge that is incrementally gained through the act of doing and being. However, art is empirical—art and art processes are observable and can be entwined throughout the art-making process as a methodology of inquiry. Proposed here, as a future paradigm, is the threefold primacy of art in research, learning and teaching—positioning art as the topic, process and outcome of research. Significantly art as research recognizes art objects as full participants and uses art as its evidence.

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