9 datasets

ZivaHub + Deakin Research Online + DMU Figshare2026 · dataset · unknown

Since 1998, the marked absence of an effective overarching mechanism to address the legacy of the past has posed significant challenges for victims, survivors, and families in Northern Ireland. Absent an agreed political and legal process to address the past, the arts have played an important role in addressing the legacy of the conflict. This thesis examines the intersection of the fields of tran

ZivaHub + Deakin Research Online + DMU Figshare + UCL Research Data Repository2026 · dataset · unknown

Irish playwright John O’Keeffe (1737–1833) wrote some of the most popular musical works for the London stage, which consisted of spoken dialogue and songs interwoven throughout. While modern scholarship explores issues of identity, subversion, satire, and colonialism in O’Keeffe’s musical works, it tends to overlook music and song. This is the basis for this dissertation’s main thesis that scholar

ZivaHub + Deakin Research Online + DMU Figshare2026 · dataset · unknown

This portfolio employs an autoethnographic approach to the development of my own improvisatory practice. Through video documentation with voice-over commentary, I reflect on key moments in exploratory improvisation. These commentaries serve both my own learning and the experience of the listener. The process is iterative: what is discovered is enfolded back into the playing, where knowledge re-eme

ZivaHub + Deakin Research Online + DMU Figshare2026 · dataset

This thesis offers a new critical look at Shakespeare in the post-truth era, analysing how theatre or productions use Shakespeare to engage with post-truth ideas. It explores five sets of productions derived from five of Shakespeare’s plays, including Julius Caesar, Cymbeline, Richard II, King Lear, and Hamlet to show how Shakespearean productions within the post-truth period speak to and are infl

ZivaHub + Deakin Research Online + DMU Figshare2026 · dataset

<p dir="ltr">Karl Marx famously describes capital as “dead labour which, vampire-like, lives only by sucking living labour.” The vampire in this conception is not principally a metaphysics or ethic. It names a relation of exchange. When applied to the “star image,” this relation is structurally extractive in the sense of celebrity as accumulated value (i.e. a profit-generating brand) animated thro

ZivaHub + Deakin Research Online + HKU DataHub + DaYta Ya Rona + figshare + Loughborough Research Repository + UP Research Data Repository2026 · Astronomical catalogue

<p dir="ltr">TikTok has increasingly become a space for educational and creative practices, including drama and performance activities. However, existing educational research on TikTok has predominantly focused on engagement, digital literacy, and instructional applications. At the same time, less attention has been paid to how TikTok, as a platform, reshapes the practices of acting and performanc

ZivaHub2026 · dataset

<p dir="ltr">This bibliography identifies three overlapping traditions in experimental queer scholarship: 1. camp and queer approaches to biography, 2. scholarly writing as performance and 3. queer and transgender identification with the monstrous and other-than-human figures, including the vampire.</p><h3 dir="ltr">Camp Biography and Queer Life Writing</h3><p dir="ltr"><b>Micir, Melanie. </b><b><

HKU DataHub + figshare + Loughborough Research Repository + UP Research Data Repository2026 · Astronomical catalogue

<p dir="ltr">The dataset comprises 43 transcripts of interviews with theatre practitioners who identify as neurodivergent. Interviews were conducted online (individually); online (group); in-person; by email. Interviews took place between February 2025 and November 2025. </p><p dir="ltr">Data was initially collected for a monograph project and analysis is published in: Skinner, A. 2026. Theatre an

INESC TEC Research Data Repository2024 · Table · CSV

The DECEiVeR dataset (DatasetEt aCting Emotions Valence aRousal) is a meticulously curated collection of physiological recordings from 11 professional theatre actors. The DECEiVeR dataset facilitates the recognition of a specific set of five emotions: neutral, calm, tiredness, tension, and excitement. The dataset encompasses raw, low- and mid-level temporal and spectral data, enabling a comprehens