Afield
DOI:
https://doi.org/10.1558/jca.32247Keywords:
Interdisciplinarity, performance, fieldworkAbstract
Reflections on and approaches to interdisciplinary collaboration in archaeology, cultural geography and performance. With the outline of a potential methodology and proposals for practice that draw upon experiences of creative endeavours in the field and in which scholarly and artistic are combined; and with reference to a series of performative outcomes.
References
Daniels, S., M. Pearson and H.Roms. 2010. “Editorial.” Performance Research 15 (4): 1–5. https://doi.org/10.1080/13528165.2010.539871
Pearson, M. 2000. “Bubbling Tom.” In Small Acts: Performance, the Millennium and the Marking of Time, edited by A. Heathfield, 172–185. London: Black Dog Publishing.
____. 2006. In Comes I: Performance, Memory and Landscape. Exeter: University of Exeter Press.
____. 2007. Carrlands. Availanle online: www.carrlands.org.uk
____. 2010. Site-Specific Performance. Basingstoke, UK: Palgrave Macmillan. https://doi.org/10.1007/978-1-137-28558-4
____. 2012. “Warplands: Alkborough.” Performance Research, 17 (7): 87–95. https://doi.org/10.1080/13528165.2012.671077
____. and H. Roms. 2014. “Performing Cardiff: Six Approaches to a City and its Performance Past.” In Performing Cities, edited by N. Whybrow, 120–138. Basingstoke, UK: Palgrave Macmillan. https://doi.org/10.1057/9781137455697_7
Pearson, M. and M. Shanks. 2001. Theatre/Archaeology. London and New York: Routledge.
____. 2013. Pearson|Shanks 1993–2013. London: blurb.
____. 2014a. “Autosuggestion.” Performance Research 19 (3): 101–110. https://doi.org/10.1080/13528165.2014.935188
____. 2014b. “Theatre/Archaeology – Return and Prospect.” In Art and Archaeology: Collaborations, Conversations, Criticisms, edited by I. A. Russell and A. Cochrane, 199–230. New York: Springer-Kluwer. https://doi.org/10.1007/978-1-4614-8990-0_14
Shanks, M. 2012. The Archaeological Imagination. Walnut Creek, CA: Left Coast Press.
____. 2013. “‘Let Me Tell You about Hadrian’s Wall…’: Heritage, Performance, Design.” Amsterdam: Reinwardt Academy / Amsterdam School of the Arts.
Pearson, M. 2000. “Bubbling Tom.” In Small Acts: Performance, the Millennium and the Marking of Time, edited by A. Heathfield, 172–185. London: Black Dog Publishing.
____. 2006. In Comes I: Performance, Memory and Landscape. Exeter: University of Exeter Press.
____. 2007. Carrlands. Availanle online: www.carrlands.org.uk
____. 2010. Site-Specific Performance. Basingstoke, UK: Palgrave Macmillan. https://doi.org/10.1007/978-1-137-28558-4
____. 2012. “Warplands: Alkborough.” Performance Research, 17 (7): 87–95. https://doi.org/10.1080/13528165.2012.671077
____. and H. Roms. 2014. “Performing Cardiff: Six Approaches to a City and its Performance Past.” In Performing Cities, edited by N. Whybrow, 120–138. Basingstoke, UK: Palgrave Macmillan. https://doi.org/10.1057/9781137455697_7
Pearson, M. and M. Shanks. 2001. Theatre/Archaeology. London and New York: Routledge.
____. 2013. Pearson|Shanks 1993–2013. London: blurb.
____. 2014a. “Autosuggestion.” Performance Research 19 (3): 101–110. https://doi.org/10.1080/13528165.2014.935188
____. 2014b. “Theatre/Archaeology – Return and Prospect.” In Art and Archaeology: Collaborations, Conversations, Criticisms, edited by I. A. Russell and A. Cochrane, 199–230. New York: Springer-Kluwer. https://doi.org/10.1007/978-1-4614-8990-0_14
Shanks, M. 2012. The Archaeological Imagination. Walnut Creek, CA: Left Coast Press.
____. 2013. “‘Let Me Tell You about Hadrian’s Wall…’: Heritage, Performance, Design.” Amsterdam: Reinwardt Academy / Amsterdam School of the Arts.
Published
2018-02-19
Issue
Section
Creative Archaeologies Forum
How to Cite
Pearson, M. (2018). Afield. Journal of Contemporary Archaeology, 4(2), 157-162. https://doi.org/10.1558/jca.32247
