NOTE: Most of the readings are available online through the Concordia Library’s search features. Please also check the library’s Course Reserves for books.

Readings for discussion and general knowledge

Mandatory readings in bold.

A reader for context into the contemporary circus scene in Quebec and some of its research

Cirque Global: Québec’s Expanding Circus Boundaries, Ed. Louis Patrick Leroux and Charles Batson, McGill-Queen’s UP.

On research-creation, experiential research, research as creation, creation as research, practice-based researc and other variations

Bogart, Anne. “Chapter 9: Collaboration” in What’s the story: Essays about art, theater and storytelling (New York: Routledge, 2014), p. 106-122.

Chapman, O., & Sawchuk, K. (2012). Research-creation: Intervention, analysis, and “family resemblances”. Canadian Journal of Communication, 37(1), 5-26.

Nelson, Robin, Ed. (2013). Practice as Research in the Arts. Principles, Protocols, Pedagogies, Resistances, London: Palgrave. Focus on the first few chapters written by Nelson.

On research-creation, experiential research, research as creation, creation as research, practice-based researc and other variations

ARBOUR, M.R., 1996, “Les responsabilités de l’université dans l’enseignement des arts”, Dans SPUQ. 25 ans de syndicalisme universitaire, Analyses et discussions, no 5, p.177-182.

Bacon, J. (2005). “It ain’t what you do, it’s the way that you do it.”  Studies in Theatre and Performance, 25(3)

Bacon, J. (2006). The feeling of the experience: A methodology for performance ethnography. In J. Ackroyd (Ed.), Research methodologies for drama education  (pp. 135-157). Stoke on Trent, UK: Trentham Books.

BAILLARGEON, Normand, 1994, La recherche et la création universitaires à la recherche d’elles-mêmes. Éléments de réflexion et proposition professorales sur la recherche et la création universitaires, Analyses et discussions, 4, Montréal : Syndicat de professeurs de l’Université du Québec à Montréal.

BIGGS, Micheal et Daniela BÜCHLER, 2013, « Inferring a collective of research from the actions of the art and design community », Art, Design & Communication in Higher Education, vol. 12, no 1, p.7-19.

Borgdorff, Henk (2012). The Conflict of the Faculties. Perspectives on Artistic Research and Academia, Leiden : Leiden University Press. Of particular interest, if you can find the book!

Bruneau, Monik and André Villeneuve (Ed) (2007). Traiter de recherche création en art. Entre la quête d’un territoire et la singularité des parcours, Montreal: Presses de l’Université du Québec à Montréal.

Candy. Linda. (2006), “Practice Based Research: A Guide,” Creativity and Cogition Studios, CCS Report: 2006-V1.0 November.

Chemers, Michael Mark. “1. What the #$%@ is a Dramaturg?” in Ghost Light: An Introductory Handbook for Dramaturgy (Edwardsville: Southern Illinois University Press, 2010), p. 3-12.

Csikszentmihalyi, M. (1990). Flow: The psychology of optimal experience. New York: Harper Perennial.

Fels, L. (2012). Collecting data through performative inquiry: A tug on the sleeve. Youth Theatre Journal, 26(1), 50-60.

GINGRAS, Yves, 1991, “L’institutionnalisation de la recherche en milieu universitaire et ses effets”, Sociologie et sociétés, no XXIII, p. 41-54.

Knowles, J. G., & Promislow, S. (2008). Using an arts methodology to create a thesis or dissertation. In J.G. Knowles, & A.L. Cole (Ed.), Handbook of the arts in qualitative research (pp. 511-525). Los Angeles, California: Sage Publications.

Koch, S., & Fischman, D. (2011). Embodied enactive dance/movement therapy. American Journal of Dance Therapy, 33(1), 57-72.

Law, J. (2004). After method: Mess in social science research. London, England: Routledge.

Leavy, P. (2009). Method meets art: Arts-based research practice. New York: The Guilford Press.

Leggo, C., Bickel, B., & Walsh, S. (2015). Arts-based and contemplative practices in research and teaching: Honoring presence. New York: Routledge.

Lievens, Bauke (2018). Negocitating Distance: 2 letters and 3 conversations on artistic research in contemporary circus, Ghen, Belgium: HoGhent. Difficult to find or very expensive, so I will put a copy on reserve at the Concordia Library to consult.

McCormak, Derek P. (2008), “Thinking-Spaces for Research-Creation,” Inflexions 1,

McNiff, S. (2008). Art-based research. In J.G. Knowles and A.L. Cole (Ed.), Handbook of the arts in qualitative research  (pp. 29-40). Los Angeles, CA: Sage Publications.

Pitard, J. (2017). A journey to the centre of self: Positioning the researcher in autoethnography.  Forum: Qualitiative Social Research, 18(3)

QUÉINNEC, Jean-Paul et Émilie MARTZ-KUHN, 2012, “Recherche-création en milieu universitaire”, Théâtralités, no 30, p.4-5.

Smith, Thomas E and Clifford E. Knapp, Ed. (2011), Sourcebook of Experiential Education. Key Thinkers and their Contributions, London-New York : Routledge.

STÉVANCE, Sophie et Serge LACASSE, 2013, Les enjeux de la recherche-création en musique. Institution, définition, formation, Québec : Presses de l’Université Laval.

Thain, Alanna (2008), “Afffective Commotion in Minding the Gaps in Research-Creation,” Inflexions 1,

Thompson, J. (2011). Performance affects: Applied theatre and the end of effect. London, England: Palgrave MacMillan.

Wilf, Eitan Y. (2014) School for Cool. The Academic Jazz Program and the Paradox of Institutionalized Creativity, Chicago: University of Chicago Press.

My articles on the topic:

To read (I will post a copy on our website):

Leroux, Louis Patrick (2017). “Research Performance as Apprenticeship and Performative Research. Musings from a Supervisor,” Current Challenges in Doctoral Theatre Research, Edited by Radka Kunderova, Janacek Academy of Music and Performing Arts, Brno, Czech Republic, p. 47-55. Click here to down the article. 

Leroux, Louis Patrick (2014). « Répliques, réplications, réponses : Milford Haven repris », L’Aparté no. 3, dossier « Entre inventivité et doute, la richesse de la recherche création est-elle crédible? », no. 3, Spring 2014, p. 41-45.

Leroux, Louis Patrick (2013). « El investigador-creador frente a sus respuestas resonantes », Apuntes de teatro (Chile), no 138, 2013, p. 69-83. Translated into Spanish by Andrea Pellegri.

Louis Patrick Leroux (2012). “From langue to body — the quest for the “real” in Québécois theatre” Edited by Roberta Barker and Kim Solga, New Canadian Realisms: Essays, Toronto, Playwrights Canada Press, p. 106-123.

Leroux, Louis Patrick (2012). “Theatre production, experiential learning, and research-creation in the Academy: An anti-manifesto of sorts,” Canadian Theatre Review, no. 150, special issue “Manifestos: Everything You’ve ever Wanted to Say about Theatre but Were Afraid to Put in Print”, edited by Natalie Alvarez and Jenn Stephenson, Spring 2012, p. 97-99.

Some useful videos and web documents to think about writing and things the contemporary circus

the Unpack the Arts essays:”Unpack the Arts was a European project (2012-2014), with Circuscentrum as project leader, that provided residencies for cultural journalists in the context of twelve major festivals programming contemporary circus.” This website has downloads for all 12 essay compilations.

On contemporary circus history and circulations
From Routledge Circus Reader (Tait and Lavers, ed., 2016)
– Martine Maleval, “An Epic of New Circus”
-Tracy Zhang, “Bending the Body for China: the Uses of Acrobatics in Sino-US diplomacy During the Cold War”
-Magali Sizorn, “Female Circus Performers and Art: the Shift to Creative Authorship and its Implications”
-Tomi Purovaara, “Contemporary Circus: Introduction to an Art Form”
*This text is available on course reserve at the Concordia Library. Alternatively, it can be purchased through Routledge or Amazon.

Websites of interest linked to the course: