On the outs[side] looking in
On the outs[side] looking in
I have a degree that I cannot find employment pursuing in academia. So, I have had to be flexible in how and why I use theatre history, historiography and theory, especially in light of the Business Model that the University now operates under. Yet, I do continue to research in that field in my post-doc life and I have found that the discipline has allowed me to DO a variety of things I would not have ordinarily done if I had achieved the doctorate in any other field
My late nineteenth century interests have, necessarily, moved, first into the early twentieth century to consider intersectonal identies and social marginalities and later in to the twentyfirst century in order to publish on more ‘current’ and ‘trending’ histories. Like many, I am considering a move to archives and records management.
My provocation will first like to cover the accident of my ending up on the periphery of the field and the freedom I have found in being able to operate from that position. I would like to discuss the idea of flexible knowledge that being a Theatre History scholar has given me and what else I have turned Theatre History and Historiography to DOING. I will close with an example of how my experience of Theatre History has resulted in a uniquely complete and holistic relationship with the archive.
Theatre Hisitory, Historiography, Higher Education, Practice Development, Interpretation, Interdisciplinarity
Millette, Holly-Gale
909906ff-426b-47ab-a71a-5788ea36c213
Millette, Holly-Gale
909906ff-426b-47ab-a71a-5788ea36c213
Millette, Holly-Gale
(2018)
On the outs[side] looking in.
Why Theatre History? : A Symposium organised by the Department of Drama University of Exeter and the Department of Drama, Theatre and Dance, Royal Holloway University of London, Bedford Square, London, United Kingdom.
05 Sep 2018.
(Submitted)
Record type:
Conference or Workshop Item
(Paper)
Abstract
I have a degree that I cannot find employment pursuing in academia. So, I have had to be flexible in how and why I use theatre history, historiography and theory, especially in light of the Business Model that the University now operates under. Yet, I do continue to research in that field in my post-doc life and I have found that the discipline has allowed me to DO a variety of things I would not have ordinarily done if I had achieved the doctorate in any other field
My late nineteenth century interests have, necessarily, moved, first into the early twentieth century to consider intersectonal identies and social marginalities and later in to the twentyfirst century in order to publish on more ‘current’ and ‘trending’ histories. Like many, I am considering a move to archives and records management.
My provocation will first like to cover the accident of my ending up on the periphery of the field and the freedom I have found in being able to operate from that position. I would like to discuss the idea of flexible knowledge that being a Theatre History scholar has given me and what else I have turned Theatre History and Historiography to DOING. I will close with an example of how my experience of Theatre History has resulted in a uniquely complete and holistic relationship with the archive.
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Submitted date: 5 September 2018
Venue - Dates:
Why Theatre History? : A Symposium organised by the Department of Drama University of Exeter and the Department of Drama, Theatre and Dance, Royal Holloway University of London, Bedford Square, London, United Kingdom, 2018-09-05 - 2018-09-05
Keywords:
Theatre Hisitory, Historiography, Higher Education, Practice Development, Interpretation, Interdisciplinarity
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Local EPrints ID: 468014
URI: http://eprints.soton.ac.uk/id/eprint/468014
PURE UUID: 9d211e87-f0df-4396-ae55-1d281e00b596
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Date deposited: 27 Jul 2022 17:06
Last modified: 28 Jul 2022 01:46
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