AHRC-funded international and multidisciplinary project that investigates how Restoration Shakespeare used to be performed, and how it can be performed today. It brings together Queen’s University Belfast, Syracuse University, the Folger Shakespeare Library, the Globe Theatre, and the Shakespeare Birthplace Trust.

Find out more on Performing Restoration Webpage

Stefano Baschiera's AHRC-funded project brings together researchers with established expertise in different aspects of the film industry, to examine the way Italian producers shaped global film production and distribution between the late 1940s and the mid-1970s. In collaboration with cultural stakeholders, like the Cineteca di Bologna, the project explores a wide range of business practices and the domestic and international contexts in which these developed. These practices played a crucial role in building international markets for Italian films and creating production and distribution strategies which turned Italian cinema into a global force. The project benefits those interested in Italian and international film culture, as well as sectors of the cinema industry itself.

For more on this project see the following websites:
https://progettocristaldi.cinetecadibologna.it/about
https://festival.ilcinemaritrovato.it/en/evento/dream-makers-come-i-produttori-hanno-fatto-grande-il-cinema-italiano

Paul Stapleton is the sound designer and composer for 'Reassembled, Slightly Askew', an immersive audio-theatre piece based on an autobiographical account of Shannon Yee’s experience of falling critically ill with a rare brain infection and her journey of rehabilitation with an acquired brain injury (ABI). This piece is the outcome of a 5-year artistic research process initiated by Yee, which brought together a team of five lead artists including Stapleton, Yee (writer, producer, performer), Anna Newell (theatre director), Hanna Slättne (dramaturg), and Stevie Prickett (choreographer). Since 2015, the work continues to tour internationally in artistic and medical contexts, receiving critical acclaim (e.g. 4 stars in The Guardian, Time Out London and The Evening Standard) and offers a new approach to training medical practitioners (as featured in The Wall Street Journal). 

Website:
http://www.paulstapleton.net/portfolio/reassembled-slightly-askew

As a scholar, editor, curator, and digital humanist, Sarah McCleave has been a leading participant in a 21st-century revival of Thomas Moore, demonstrating the extent and significance of his cultural impact during the 19th century. In spring 2013 she organised a ‘Thomas Moore Festival’. A successful bid to the ‘Horizon 2020’ funding stream of the European Union, resulted in ERIN, or ‘Europe’s Reception of the Irish Melodies and National Airs: Thomas Moore in Europe’ (2015-2017) -- with particular reference to European art music published between 1808 and 1880. ERIN also documents European fascination with the orient, and Moore’s role in promoting this interest, by including music inspired by his ‘oriental romance’ Lalla Rookh in its remit.

Website:
www.erin.qub.ac.uk

Preparation for contact training in disciplines including Medicine and Social Work involve various forms of simulation training to help students equip themselves for 'real' world experiences following graduation.

Where clinical skill and technical competence are taught to high standards, the complexities of interpersonal interaction are referred to in cliched terms as ‘soft skills', 'bedside manner' and 'non-technical skills' and are often under-valued and poorly understood in terms of formal education and training. The aim of this series of symposia is to understand how education and training in health and social care can be enhanced by integrating techniques more commonly associated with theatre and performance.’

Sonic Art For Public Ears: Enabling Children As Designers

This work, led by Franziska Schroeder, impacted on children between the ages of 8 and 14. Since 2011 over 90 children living in Northern Ireland have benefitted from day-long workshops, taking place at the Sonic Arts Research Centre (SARC) at Queen’s University Belfast.

Visit QUB Big Ears Webpage

‌This network seeks to understand the role of arts and cultural managers as intercultural brokers in our context of globalisation, internationalisation and global migration. Intercultural understanding suggests capacity for appreciating, recognising and relating to different world viewpoints and experiences. Historical and empirical research recognises the role arts and cultural objects and expressions, like fine and performing arts and heritage, play in political, cultural and ethnic relations. Yet, little is known about the role of arts and cultural managers, their practice and education, in this process.

Brokering Intercultural Exchange

Three complementary projects - Theatre of Witness’s We Carried Your Secrets and its eponymous documentary; the film We Never Give Up II; and the Prisons Memory Archive – address the role and impact of storytelling in post-conflict societies.

A collection of 175 filmed walk-and-talk recordings with those who had a connection with Armagh Gaol and the Maze and Long Kesh Prison during the conflict in and about Northern Ireland.

prisonsmemoryarchive.com

Queen's University Belfast to take part in the Being Human Festival 2017 - led by Dr Franziska Schroeder, Impact Champion, School of Arts, English and Languages.

Visit Being Human Fetival 2017 Website

BSc Music Technology and Sonic Arts Students contributed to a one-week environmental design and creative event by creating sound installations with an aim to invite audiences to discover hidden, unexpected and surprising aspects of sound in specific spaces in Belfast.

 The case study shows how short chamber compositions by composer Piers Hellawell have transformed the musical experience of young musicians within the on-going Chamber Music 2000 project in England. Circles of impact radiate from his provision of practicable new chamber work for ensembles: children from 8 to 16 have explored the challenging demands of performing contemporary music created for them in an individual and exciting idiom.

They have participated in new experiences in communal music-making; they have processed new notated instructions and encountered unfamiliar sound-combinations; they have become part of a collaboration with professional artists during coaching. Through these experiences young musicians have been equipped to give a world premiere in an international venue, a life-enhancing experience.

The Stroke Folks research project by Brenda Winter-Palmer is part of a continuing study which seeks to explore whether improvisational drama (a process–based methodology which need not necessarily result in public performance) could be therapeutic in the promotion of increased emotional health in patients recovering from stroke. Research has shown that the physical and cognitive effects of stroke may result in feelings of grief, denial, depression, perplexity, frustration, anger and embarrassment. In tracking the progress of a group of stroke survivors over the period of one year the study aimed to assess whether involvement in process drama might bring some alleviation of these symptoms and generate a general improvement in confidence, optimism and motivation.

David Robb’s research into folk and protest song has an impact on a wider public through its promotion at music clubs and festivals and in its use in political education in schools. The context for the impact is the general political climate in Germany since the Second World War where protest song has been supported at a national level as ‘democratic’ heritage. Questionnaires from a recent workshop revealed how teachers have made use of Robb’s recent on-line research project to promote a democratic consciousness amongst pupils. His research has also influenced the song repertoires of folk groups and performers.  

Website: http://www.liederlexikon.de/ueber_liederlexikon_de/projekte/ahrc-dfg_projekt