2020 applicants
People

Dr Liam Jarvis

Senior Lecturer
Department of Literature Film and Theatre Studies (LiFTS)
Dr Liam Jarvis
  • Email

  • Telephone

    +44 (0) 1206 874764

  • Location

    5NW.4.4B, Colchester Campus

  • Academic support hours

    Mondays: 1.15-2.15pm

Profile

Biography

I am a theatre-maker, writer, researcher and director; at present I am co-director of the Centre for Theatre Research (CTR) and Graduate Director in the Department of Literature, Film and Theatre Studies at the University of Essex. My research and teaching interests include (but are not limited to) Devising and Contemporary Performance-making, Embodiment and Immersion in Performance, Science-art Interdisciplinarity, Intermediality, Postdigital Culture and Object-led Theatre. Prior to joining the LiFTS department, I trained as a theatre director at LAMDA, before working as a Rehearsal Assistant and Assistant Director with companies such as Gecko and Theatre-Rites. In 2007, I co-founded Analogue, an award-winning independent theatre company with whom I created devised work that toured the UK/internationally. The work of the company included Mile End (2007-08), which won a Scotsman Fringe First Award, Arches Brick Award and was shortlisted for the Carol Tambor Best of Edinburgh Award; Beachy Head (2009-10), a co-production with The New Wolsey (Ipswich); 2401 Objects (2011-12), co-produced with Oldenburgisches Staatstheater and The New Wolsey (Ipswich), which won a Scotsman Fringe First Award and was shortlisted for the Carol Tambor Best of Edinburgh Award; Lecture Notes on a Death Scene (2011) a one-on-one show staged in the darkness; Superlatively, Actually Awake (2014-15), a headphone piece created for Wonder: Art and Science on the Brain at the Barbican; Transports (2014-15), an interactive installation using first-person film, binaural sound and a tremor glove to explore lived experiences of young-onset Parkinson's disease (created in collaboration with volunteers at Parkinson's UK and supported by the Wellcome Trust); Re-enactments (2013-16), a headphone piece developed through a Fellowship at Hanse-Wissenschaftskolleg (Delmenhorst, Germany), subsequently short-listed for The Oxford Samuel Beckett Theatre Trust Award and commissioned by Shoreditch Town Hall; Living Film Set, an R&D in collaboration with Microsoft Labs, The Junction Cambridge and subsequently a script commissioned by Theatre Royal Plymouth; and finally Sleepless (2016), a play exploring multiple generations of a family affected by a sleeping disorder called fatal familial insomnia, co-produced with Staatstheater Mainz (Germany) and Shoreditch Town Hall. Alongside my practice, prior's to my appointment at Essex, I was a Visiting Lecturer and Teaching Fellow in contemporary theatre-making at Royal Holloway University from 2004-2015, and a regular visiting speaker at institutions such as LAMDA and Mountview Academy. I have a long-standing interest in supporting pedagogical developments across the sector, having co-created and led Continuing Professional Development (CPD) courses for Drama teachers and master-classes for secondary school students as part of the National Theatre's Discover programme on devising practice in collaboration with Al Nedjari (Gecko, War Horse) and co-designing interdisciplinary workshops for secondary school students at the Barbican. My research journey emerged through my practice; in particular, my work with Analogue and interdisciplinary collaborations with partners in adjacent fields such as psychology, histopathology and neuroscience. My creative investigations with my company formed a significant part of my AHRC funded PhD research entitled 'Feeling with Someone Else’s Body: Self-deception and the Paradox of Immersive Performance'; a qualitative project that examined the intersections between technologized immersive performance practices and recent neuroscientific studies in embodiment and body-ownership. This work drew me to both artistic and scientific experimentation that displaced sensations and elicited eccentric forms of perception in participants as an expression of an ontological reach towards different kinds of otherness beyond the body one owns; for example, the empathy activism of temporarily inhabiting the first-person virtual bodies of refugees, traumatic brain injury patients or non-human others using VR - these are all areas of investigation that are featured in my book Immersive Embodiment: Theatres of Mislocalization (2019). I have developed in-depth industry knowledge and expertise as a board member for an Arts Council National Portfolio Organisations (NPO) Theatre-Rites (from 2013-present) and as a practitioner creating practice-as-research projects through a variety of producing models from artistic residencies to research fellowships. I have also acted as an embedded researcher, observing the processes/performer training of other world-leading practitioners; most recently the object-led training approaches of puppet director Sue Buckmaster that will be captured in a co-authored book, Theatre Rites: Animating Puppets, Objects and Sites that is intended to coincide with Theatre-Rites's 25th Anniversary as a company in 2021. I am co-convener of the Intermediality in Theatre and Performance Working Group at the International Federation for Theatre Research (IFTR), having co-ordinated the research activities of the group at conferences in Sao Paulo (2017), Belgrade (2018), Shanghai (2019) and Galway (forthcoming in 2021). I have co-edited publications that capture the cutting-edge research emerging from this network with a further new book series emerging from the group that will be launched in 2021 with Bloomsbury.

Qualifications

  • Ph.D (Royal Holloway)

  • FHEA

  • M.Res (Royal Holloway)

  • PGdip in Directing (LAMDA)

  • BA Hons. (Royal Holloway)

Appointments

University of Essex

  • Co-director, Centre for Theatre Research (CTR), Literature, Film and Theatre Studies (LiFTS), University of Essex (1/9/2019 - present)

  • Graduate Director, Literature, Film and Theatre Studies (LiFTS), University of Essex (1/9/2018 - 21/7/2020)

  • Senior Lecturer, Literature, Film and Theatre Studies (LiFTS), University of Essex (1/9/2018 - present)

Research and professional activities

Research interests

Immersive Performance and Participation

Open to supervise

Devising and Contemporary Performance-making

Open to supervise

Experimental Neuroscience, Selfhood, Embodiment and Body Transfer Illusions in Performance

Open to supervise

Science-art Interdisciplinarity

Open to supervise

Intermediality, Interactivity, New Technologies and the Digital Humanities

Open to supervise

Theatre in the Dark

Open to supervise

Theatre Directing

Open to supervise

Applied performance, affect and wellbeing

Open to supervise

Conferences and presentations

Immersive Embodiment: Theatres of Mislocalized Sensation

Keynote presentation, ‘Reflections of the Real World - Performing the Real 2019’, York, United Kingdom, 20/6/2019

Keynote speaker: ‘Reflections of the Real World - Performing the Real 2019’, PG conference, 20 June 2019, University of York

‘Reflections of the Real World - Performing the Real 2019’, ‘Reflections of the Real World - Performing the Real 2019’, York, United Kingdom, 20/6/2019

‘Appification & Technologies of the ‘Other’: Performing Neurodivergence and ‘Obscene Immortality’ in VR Apps/Interactive Installations’

TaPRA, Aberystwyth, Aberystwyth, United Kingdom, 6/9/2018

‘Appification & Technologies of the ‘Other’: Performing Neurodivergence and ‘Obscene Immortality’ in VR Apps/Interactive Installations’

IFTR, Belgrade, Serbia, Belgrade, Serbia, 10/7/2018

'Appification & Technologies of the ‘Other’'

Critical Care: Audience in Immersive, Interactive and One-on-One Performance Symposium, Centre for Digital Storymaking, London, United Kingdom, 29/3/2018

'Theatres of Referred Sensations: Ontology and Relationality in VR Body Transfer Illusions, July 2017, International Federation of Theatre Research (IFTR) conference Sao Paulo, Intermediality in Theatre and Performance Working Group

Invited presentation, IFTR (International Federation for Theatre Research), IFTR 2017, Sao Paulo, Brazil, 12/7/2017

Interdisciplinary Collaboration in the Humanities. Realising Our Greater Potential, Eastern ARC (EARC) conference, 11 Nov. 2016, University of Kent.

Canterbury, United Kingdom, 2016

Cross-over Work Analogue (UK), IETM International network for contemporary performing arts, 5 Nov. 2016, Valencia Plenary Meeting, Spain. Teatre el Musical.

Valencia, Spain, 2016

Symposium leader/organiser for The Promise of Immersion: between Self and Other, a CHASE funded Network Symposium on 23 Jun. 2016 at Stratford Circus Arts Centre.

London, United Kingdom, 2016

Time-sculptures of Terrifying Ambiguity: Staging Inner Space and Migrating Realities in Analogues Living Film Set 2.0, 16 Jun. 2016, IFTR Conference, Intermediality Working Group: Presenting the Theatrical Past.

Stockholm, Sweden, 2016

Contributor to the Eastern ARC (EARC) Digital Humanities and the Creative Arts Symposium, 12 May 2016, University of Essex.

Colchester, United Kingdom, 2016

Conceptualising Different Darknesses in Contemporary Theatre Practice, Conventions of Proximity in Art, Theatre and Performance, 6 May 2016, Birkbeck, University of London.

London, United Kingdom, 2016

Contributor to the Mapping Narratives CHASE Network Symposium, 15 Apr. 2016, The Courtauld Institute.

London, United Kingdom, 2016

Time-sculptures of Terrifying Ambiguity: Staging Inner Space and Migrating Realities in Analogues Living Film Set 2.0, 8 Sept. 2015, TaPRA Conference, Performance and New Technologies Working Group: Digital Memory and Techno-nostalgia.

Worcester, United Kingdom, 2015

Body Transfer Illusions in Analogues Transports, 3 Sept. 2014, TaPRA Conference, Performance and the Body Working Group, Royal Holloway University.

Egham, United Kingdom, 2014

Invited speaker. 24 Jun. 2014, The Culture Capital Exchange Conference, Guildhall School of Music & Drama.

Barbican, United Kingdom, 2014

Alone in the Dark with Myself: Spectator as Wigners friend In Analogues Lecture Notes on a Death Scene. 12 Jun. 2014, Theatre in the Dark: A One-day Symposium, School of Arts, University of Surrey.

Guildford, United Kingdom, 2014

Negotiating Art/Science Interdisciplinarity in Performance: Towards a Third Culture. 23 Apr. 2014, Performing Science: Dialogues Across Cultures The Science and Performance Conference, Lincoln University.

Lincoln, United Kingdom, 2014

Practice-based research:Analogues #NaturalQuarantines R&D (for a ambisonic sound/blindfold performance intended for theatre foyers, science festivals and museums)in collaboration with astrophysicists at the University of Warwick. Supported by Arts Council England and China Plate, commissioned by Warwick Arts Centre & HOME (Manchester)

The Ethics of Mislocalized Selfhood: Proprioceptive Drifting Towards the Virtual Other, Performance & Technologies WG Interim Event: No Way Out: Theatre as a Mediatised Practice, 21st April, London South Bank University (LSBU).

Sleepless. A co-authored performance by Analogue, co-commissioned by Shoreditch Town Hall (London, UK) and Staatstheater Mainz (Germany).

Culture, Creativity and the Academy - building a new Grand Partnership'

Teaching and supervision

Current teaching responsibilities

  • Contemporary Texts and Contexts (LT109)

  • Criticism: Practice and Theory (LT204)

  • Research for Creative Practice (LT905)

  • Devising (TH143)

  • Interactive Performance-making: Shaping Audience Participation (TH206)

  • Models of Practice (TH241)

  • Independent Practical Theatre Project (TH831)

  • Independent Theatre Studies Project (TH836)

  • Dissertation: MA Theatre Practice (TH981)

  • Contemporary Theatre-Making (TH983)

Previous supervision

Rebekah Louise Hudson
Rebekah Louise Hudson
Thesis title: Autobiographical Theatre and the Wellbeing of the Performer: How a Practitioner May Safeguard Their Mental Wellbeing When Creating Theatre Which Is Emotionally Sensitive or Personal.
Degree subject: Theatre Studies
Degree type: Master of Arts (by Dissertation)
Awarded date: 26/6/2020
Finn Edward Adam Todd
Finn Edward Adam Todd
Thesis title: Headphone Theatre (Performances & Experiences): A Practitioner's Manipulation of Proximity, Aural Attention and the Resulting Effect of Paranoia.
Degree subject: Theatre Studies
Degree type: Master of Arts (by Dissertation)
Awarded date: 18/12/2019

Publications

Journal articles (4)

Jarvis, L., Intermedial praxis and practice as research: ‘Doing Thinking’ in practice. International Journal of Performance Arts and Digital Media, 1-2

Jarvis, L., (2019). Narrative as virtual reality 2: revisiting immersion and interactivity in literature and electronic media. International Journal of Performance Arts and Digital Media. 15 (2), 239-241

Jarvis, L., (2017). Time-sculptures of Terrifying Ambiguity: Staging Inner Space and Migrating Realities in Analogue's Living Film Set. International Journal of Performance Arts and Digital Media. 13 (1), 21-38

Jarvis, L., (2017). The Ethics of Mislocalized Selfhood: Proprioceptive Drifting Towards the Virtual Other. Performance Research. 22 (4), 30-37

Books (3)

Savage, K., Lewis, WWL., Jarvis, L., Remshardt, R., Warren, A., Kendrick, L., Shyldkrot, Y., Taylor, L. and Scott, J., (2022). Avatars, Activism and Postdigital Performance: Precarious Intermedial Identities. Bloomsbury. 9781350159327

Jarvis, LDB. and Buckmaster, S., (2021). Theatre-Rites: Animating Puppets, Objects & Sites. Routledge

Jarvis, LDB., (2019). Immersive Embodiment: Theatres of Mislocalized Sensation. Palgrave Macmillan

Book chapters (3)

Jarvis, L., (2019). Theatre, Appification & VR Apps: Disability Simulations as an Intervention in ‘Affective Realism’. In: Theatres of Contagion. Editors: Walsh, F., Brater, E. and Taylor-Batty, M., . Bloomsbury

Jarvis, L., (2017). Creating in the Dark: Conceptualizing Different Darknesses in Contemporary Practice. Editors: Alston, A. and Welton, M., . Bloomsbury Methuen Drama. 88- 112. 9781474251198

Jarvis, L., (2016). Renegotiating Immersive Participation. In: Performance and Participation Practices, Audiences, Politics. Editors: Harpin, A. and Nicholson, H., . Palgrave Macmillan. 9781137393166

Thesis dissertation (1)

Jarvis, LDB., (2016). Feeling with Someone Else’s Body: Self-deception and the Paradox of Immersive Performance

Other (4)

Jarvis, L., (2018).Book Review: Intermedial Praxis and Practice as Research: 'Doing-Thinking' in Practice. International Journal of Performance Arts and Digital Media. 14(1),Taylor & Francis

Jarvis, LDB., (2015).Book Review: Theatre & the Digital. Studies in Theatre and Performance. 35(2),Taylor & Francis

Jarvis, LDB., Rebellato, D., Barker, H., Hetherington, L. and Jowett, E., (2011).Beachy Head (Play),Oberon

Jarvis, LDB., Barker, H. and Hetherington, L., (2011).2401 Objects (Play),Oberon

Grants and funding

2019

The mystery of Raddlesham Mumps - immersive experience

University of Essex (EIRA/Research England)

Contact

ljarvis@essex.ac.uk
+44 (0) 1206 874764

Location:

5NW.4.4B, Colchester Campus

Academic support hours:

Mondays: 1.15-2.15pm