Matt Jennings
Biographic Data
| ID | 3601430 |
|---|---|
| NAME | Matt Jennings |
| GIVEN NAMES | Matt |
| FAMILY NAME | Jennings |
| SIGNATURE | JENNINGS M |
| AFFILIATIONS | University of Ulster |
| VERIFIED | No |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 3 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2010 |
| LATEST PUBLICATION YEAR | 2017 |
| H-INDEX | 0 |
Autonomy and resilience in cultural work
How do cultural workers deal with the tension between autonomy and control in their working lives? One answer, advanced in this journal by Mark Banks in 2010, is that cultural autonomy provides scope for self-realisation, and potentially for ways of working that challenge commercial and managerial constraints. It allows those with critical inclinations to resist unpalatable controls and initiate processes of struggle which may deliver improvement…
Crows on the Wire
Crows on the Wire (COTW) is an intermedial project deploying applied theatre, educational drama and digital performance [Dixon, S. (2007). Digital Performance: A History of New Media in Theatre, Dance, Performance Art and Installation. Cambridge, MA: MIT Press] to explore the recent history of the peace process in Northern Ireland – specifically the ‘transition’ of the police force from the Royal Ulster Constabulary (RUC) to the Police Services N…
Aesthetics and efficacy in community theatre in contemporary Northern Ireland
First Page: On 22 May 1998, the Good Friday Agreement was ratified. Peace had been officially declared. Just over a year later, in July 1999, the Wedding Community Play was performed in Belfast. A much-celebrated event at the time, the Wedding Play took audiences into private houses inside Loyalist and Republican estates, then on to a public venue for the performance of a cross-community wedding. Gerri Moriarty has already written about some of t…
No prominent works on this page.
Aesthetics and efficacy in community theatre in contemporary Northern Ireland
First Page: On 22 May 1998, the Good Friday Agreement was ratified. Peace had been officially declared. Just over a year later, in July 1999, the Wedding Community Play was performed in Belfast. A much-celebrated event at the time, the Wedding Play took audiences into private houses inside Loyalist and Republican estates, then on to a public venue for the performance of a cross-community wedding. Gerri Moriarty has already written about some of t…
Crows on the Wire
Crows on the Wire (COTW) is an intermedial project deploying applied theatre, educational drama and digital performance [Dixon, S. (2007). Digital Performance: A History of New Media in Theatre, Dance, Performance Art and Installation. Cambridge, MA: MIT Press] to explore the recent history of the peace process in Northern Ireland – specifically the ‘transition’ of the police force from the Royal Ulster Constabulary (RUC) to the Police Services N…
Autonomy and resilience in cultural work
How do cultural workers deal with the tension between autonomy and control in their working lives? One answer, advanced in this journal by Mark Banks in 2010, is that cultural autonomy provides scope for self-realisation, and potentially for ways of working that challenge commercial and managerial constraints. It allows those with critical inclinations to resist unpalatable controls and initiate processes of struggle which may deliver improvement…
Sociology (3 works) · Aesthetics (2 works) · Art (2 works) · Irish and British Studies (2 works) · Law (2 works) · Northern ireland (2 works) · Political science (2 works) · Social science (2 works) · Theatre and Performance Studies (2 works) · Agency (philosophy) (1 work)