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PARIP Symposium
10 - 11 November 2001 | University of Bristol

©University of Bristol: Peter Metelerkamp


Relating documentation, research practice and the performing media: how do we re/present practice AS research? How do we interrogate processes of documentation vis a vis the production of research in both ‘live’ and ‘recorded’ contexts? If videoptaping, a live performance is felt to be a form of documentation then where does the documentation of film/video practices lie? If the performance ‘itself’ cannot stand on its own without some other form of critical document, then can a film or video stand on its own? If film-, video-, and television-making, like performance-making practices, have complex ecologies, then can their recorded outputs serve as documents of their own making?

Rapporteur: Misri Deitch Dey, York St John College

We came up with five points. 1) New paradigms for new PhDs should be developed to account for the problems PhD students face with practice as research, examiners and assessors. We would like new structures set up by which the work is talked about. It occurs to us that although other people are dealing with staff research, the PhD does remain a benchmark of academic research as it’s at PhD level that we have to articulate how our practice as research stands up against the fixed set of paradigms of traditional research. Also, perhaps being among first wave of practice as research PhDs is like what the more established academics experienced when they were the first wave of theatre/drama students at degree level. Maybe there is some value in considering how drama was first articulated as a valid subject within academy. 2) We also questioned attitudes to documentation and memorialization: notions that involve fragmentation. There has been a recurrent undercurrent of feelings of loss and nostalgia with documentation as the memorialization of work. Technology and plenitude make us think we can begin to get there, but we all know that there is no end to what can be said about a single photograph. Is not the potter’s wheel the best document of artistic process? 3) We need to develop modes/examples of documentation appropriate to practice as research. PARIP could establish networks of people who are redefining the boundaries. 4) We need to negotiate the status and function of the document, that different kinds of document have different kinds of status attached. 5) Finally, we wondered what the outcomes of this forum and work of PARIP will be.

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©University of Bristol: Peter Metelerkamp

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Transcribed by Angela Piccini, 1 February 2002


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