Reorienting the narrative of digital media studies to incorporate the medieval, Participatory reading in late-medieval England traces affinities between digital and medieval media to explore how participation defined reading practices and shaped relations between writers and readers in England’s literary culture from the late-fourteenth to early sixteenth centuries. Traditionally, print operates as the comparative touchstone of both medieval and digital media, but Participatory reading argues that the latter share more in common with each other than either does with print. Working on the borders of digital humanities, medieval cultural studies, and the history of the book, Participatory reading draws on well-known and little-studied works ranging from Chaucer to banqueting poems and wall-texts to demonstrate how medieval writers and readers engaged with practices familiar in digital media today, from crowd-sourced editing to nonlinear apprehension to mobility, temporality, and forensic materiality illuminate. Writers turned to these practices in order to both elicit and control readers’ engagement with their works in ways that would benefit the writers’ reputations along with the transmission and interpretation of their texts, while readers pursued their own agendas—which could conflict with or set aside writers’ attempts to frame readers’ work. The interactions that gather around participatory reading practices reflect concerns about authority, literacy, and media formats, before and after the introduction of print. Participatory reading is of interest to students and scholars of medieval literature, book, and reading history, in addition to those interested in the long history of media studies.
Jen Archer-Martin (Ngāpuhi, Ngāti Pākeha) is a spatial designer, thinker and educator from Aotearoa (New Zealand). Her creative research practice explores the performance of mutually caring relationships between beings, materials and places. Recent works include: ‘Performing Bitumen, Materialising Desiré’ (2019, with Julieanna Preston, Architectural Materialisms); ‘Notes on Caring Labours’ (2018, Performance Research); ‘Magical Agents: The Powers of Care Are Not Ours Alone’ (2017, Does Design Care … ?); and ‘Taking Note(s)_Performing Care’ (2017, Performing, Writing, takingnotes.performingwriting.com). Jen is Senior Lecturer of Spatial Design at Massey University, New Zealand.
Sylvan Baker, FRSA, is Lecturer in Community Performance Applied Theatre at Royal Central School of Speech and Drama. He is an associate artist of the award-winning arts and health project Performing Medicine and former associate director of the Arts and Social Justice Research Centre, People’s Palace Projects. The focus of his research is creative methods to stimulate co-creation and inclusion among marginalised communities. As a lead investigator of the AHRC-funded research project, The Verbatim Formula, he works with care-experienced young people to support adults in providing better care and education (see www.theverbatimformula.org.uk).
Dave Calvert is Senior Lecturer in Drama, Theatre and Performance at the University of Huddersfield, where he is a member of the Research Centre for Performance Practices (ReCePP). His primary research area is performance and learning disability and he has published on such artists and companies as Heavy Load, Mind the Gap, Susan Boyle and Back to Back. He has also written about various troupes in popular entertainment, including the British Pierrot tradition and the Rat Pack. He is currently chair of the UK-based theatre company Dark Horse.
Pat Deeny is Senior Lecturer in Nursing at Ulster University and Senior Fellow with the Higher Education Academy in the UK. He specialises in simulation and human-factor training for nurses and helps prepare health care professionals and postgraduate journalist students for work in disaster and conflict zones.
Kathleen Gallagher is Distinguished Professor at the University of Toronto. In 2017, she won the inaugural University of Toronto President’s Impact Award for research impact beyond the academy. In 2018, she won the David E. Hunt Award for Excellence in Graduate Teaching. Dr Gallagher has published several award-winning books and articles on theatre, youth, pedagogy, methodology and gender, and travels widely giving international addresses and workshops for practitioners. Her multi-sited, collaborative ethnographic research continues to focus on questions of youth civic engagement and artistic practice and the pedagogical and methodological possibilities of theatre.
Maurice Hamington is Professor of Philosophy and Affiliate Faculty in Women, Gender and Sexuality Studies at Portland State University. He is a care ethicist who has authored or edited twelve books including: Care Ethics and Poetry (2019, co-written with Ce Rosenow); Care Ethics and Political Theory (2015, edited with Daniel Engster); Applying Care Ethics to Business (2011, edited with Maureen Sander-Staudt); Socializing Care (2006, edited with Dorothy C. Miller); and Embodied Care (2004). For more information on his other works see pdx.academia.edu/MauriceHamington.
Sara Houston is Principal Lecturer in Dance at the University of Roehampton, UK. Her primary research interest is in community dance and specifically the experience of dancing for those marginalised or excluded in society. Her work on dance and Parkinson’s won her a BUPA Foundation Prize in 2011 and she was a finalist in the National Public Engagement Awards in 2014 in recognition of how she engaged the public internationally with that research. Her monograph, Dancing with Parkinson’s, was published in 2019. Sara chairs the Board of People Dancing, the UK’s national support organisation for community dance.
Maggie Inchley is Senior Lecturer in Drama, Theatre and Performance at Queen Mary University of London. Her publications include Voice and New Writing: 1997–2007 (2015), which is concerned with the inclusion, representation and performance of marginalised voices in British theatre. She researches the intersections of aesthetics, gender and other aspects of identity in vocal performance. As principal investigator of AHRC-funded research project, The Verbatim Formula, she works with care-experienced young people to support adults in providing better care and education (see www.theverbatimformula.org.uk).
Matt Jennings is Lecturer in Drama at Ulster University. Based in Northern Ireland since 2001, Matt has worked as an artist and teacher in Australia, Ireland, the UK and France. In 2010, he completed a PhD on the impact of community drama in Northern Ireland since 1998. Matt also provides communication training for health professionals, particularly within the Ulster University School of Nursing.
Jayne Lloyd is course leader of the MA in Inclusive Arts Practice at the University of Brighton. She is an artist and researcher working across sculpture, drawing, film and performance. She has over fifteen years of experience delivering creative projects in a range of health and social care, education and community settings. In 2016 she completed a practice-based PhD at Royal Holloway, University of London, which explored the role of participatory art practices in the lives of care home residents living with dementia.
Caoimhe McAvinchey is Professor of Socially Engaged and Contemporary Performance at Queen Mary University of London. Prior to this, she established the MA Applied Drama programme at Goldsmiths, University of London. Publications include: Theatre & Prison (2011); Performance and Community: Case Studies and Commentary (2013); and Phakama: Making Participatory Performance (2018, with Lucy Richardson and Fabio Santos). Caoimhe is currently working on a monograph marking forty years of Clean Break theatre company.
Ella Parry-Davies is a British Academy postdoctoral fellow at the Royal Central School of Speech and Drama, University of London, where her research addresses relationships between performance, urban space and memory making in contexts of transnational migration. She holds a PhD jointly funded by King’s College London and the National University of Singapore. She is editor of Contemporary Theatre Review’s Interventions platform and a BBC/AHRC New Generation Thinker. She is a founding co-convenor of the After Performance research group, and of the PSi working group on performance and critical social praxis.
Julieanna Preston explores the vitality of natural and synthetic materials in site-responsive live art performances. This artistic research often finds another form in performance writing as artist pages, essays, poems, scripts and scores. Recent works include: Vital Tones (2019, Sweden); RPM Hums (2018, NZ); Murmur (2017, UK); ‘On Duration/On During’ (2018, Performance Research); ‘Performing Bitumen, Materialising Desiré’ (2019, with Jen Archer-Martin, Architectural Materialisms); and ‘Four Castings’ (2018, Performance Research). She is Professor of Spatial Practice at Massey University, New Zealand.
Amanda Stuart Fisher is a reader in contemporary theatre and performance at Royal Central School of Speech and Drama. Her research interests focus around the relationship between performance and care and the dramaturgy of testimonial and verbatim theatre. She has published articles in Performance Research, Research in Drama Education: The Journal of Applied Theatre and Performance, Studies in Theatre and Performance and TDR. Her monograph Performing the Testimonial: Rethinking verbatim dramaturgies will be published in 2020 by MUP.
James Thompson is Professor of Applied Theatre at the University of Manchester. He researches all aspects of applied theatre, recently focusing on care and performance. He was the founder of In Place of War – a project supporting arts programmes in war and disaster zones and he has developed and run theatre projects in Africa and South Asia (principally DR Congo and Sri Lanka). He has written widely on socially engaged arts and his most recent books are Performance Affects (2009) and Humanitarian Performance (2014).
Karl Tizzard-Kleister is a PhD researcher in drama and nursing at Ulster University. His research explores how drama can be used in nursing education. Recently his research has explored how applied drama creates creative spaces to experience risk and vulnerability for student nurses.
Rachel Turner-King is Assistant Professor of Creativity, Performance and Education at the Centre for Education Studies, University of Warwick. She is course leader of the MA in Drama and Theatre Education. Her main research interests are: eco-pedagogy and education for sustainable development using drama; the theory and practice of hospitality and conviviality in public spaces; devising performance with young people, specifically the creative processes of collaborative theatre making. Her research on youth theatre practice has been published in edited works by Kelly Freebody and Michael Finneran (2016), Michael Anderson and Michael Finneran (2019) and in Research in Drama Education: The Journal of Applied Theatre and Performance (2018).