Dr Rachel Zerihan
Room 1.21, Jessop West
Internal extension: 20235
email : email@example.com
My research interests lie at the interface between live art and theatre, with a particular emphasis on examining close(d) relationships between performer and spectator
I joined the School of English as a Lecturer in Theatre at Sheffield in 2010, having previously taught at several London universities including Queen Mary University of London and Laban Trinity.
In my undergraduate degree I was introduced to Performance Art, through traces of its inception in avant-garde theatre practices, and since that time I've been fascinated by performance work that exists at the margins of mainstream culture. I’m especially drawn to affective, experiential theatre and radical aesthetics in live art practice .
I have worked as a director, performer, playwright and festival curator in fringe theatres in Derry and London and retain a passionate interest in performance that adopts interventionist strategies to affect social-spatial discourse.
My PhD thesis explored `Catharsis in Works of Contemporary Female Performance´, and was completed in 2009 under Professor Adrian Heathfield. In it I revisited the ancient concept of catharsis through contemporary performance works by Kira O´Reilly, Karen Finley and Sarah Kane, exploring affinities of affect across theatre and live art aesthetics.
I am Postgraduate Director for Theatre and Performance.
Following my doctorial research into catharsis, its contemporary manifestations and potential efficacies, I became particularly intrigued by performer/spectator dynamics and the transmission of affect. From an interest in exploring analyst/analysand environments in relation to staged encounters, I developed a concern for practically and critically researching the proliferation of `One to One´ performance works being made on the live art circuit (and now in the fringe theatre scene too).
In 2007 I worked with Maria Chatzichristodoulou (aka Maria X) to co-direct Intimacy: Across Visceral and Digital Performance a three-day live and digital art programme that took place across four "real" spaces, the "virtual" landscape of Second Life and various mediated sites. A collection of co-edited writings under the same heading was published by Palgrave MacMillan in 2012.
I maintain a keen interest in experiencing and analyzing performances that take place in different environments (physical, virtual, mediated) and in 2009 co-edited a book exploring such Interfaces of Contemporary Performance (Ashgate). My long-standing interest in exploring intimacy and risk in contemporary theatre experiences fuels my current focus on researching One to One performance as an increasingly popular form of performance – in particular its lure, agency and impact, and I continue to publish articles and chapters and speak at international conferences exploring the potential implications and opportunities of this form. I recently received a contract from Palgrave Macmillan to write a full-length study on One to One Performance.
For the academic year 2014-2015 I will teach on these modules:
I currently supervise research students examining: Iraqi Theatre 1990-2013, the work of playwright Philip Ridley and Paratextuality in Contemporary Performance. I welcome applications from research students sharing an interest in any of my areas of expertise, particularly in fields including; live art, body art, interventionist theatre practices, intimacy/risk in performance, One to One performance, contemporary female playwrights and contemporary theatre practice.
Articles and Chapters