Rosemary is a Lecturer in Drama and Theatre Studies and her research interests include multimedia theatre, intermedial performance practices, and interactive art.

Her co-written book Multimedia Performance is being published in 2011 and she has published articles and chapters in the fields of postdramatic theatre and new media performance. Current projects include the investigation of various forms of interactive spectatorship throughout the last century and contemporary examples of interactive practice including games, new media and intimate performance. She is a member of the ‘Intermediality in Theatre and Performance’ working group of the International Federation for Theatre Research (IFTR) and the national Theatre and Performance Research Association (TAPRA).

Rosemary joined the University of Kent in 2007 from Sydney, Australia where she completed her PhD. She completed her previous degrees in Brisbane, Australia and brings an international perspective to the department.

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Selected publications:

Klich, R and Scheer, E (2011 Upcoming) Multimedia Performance, Basingstoke: Palgrave McMillan.    

Klich, R (2010) “The Builders Association Supervision: Virtuality, Presence and Pattern” in Lavender, A and Merx, S eds Mapping Intermediality and Performance, Amsterdam: Amsterdam University Press

Klich, R. (2007) “Immersion and Remediation in New Media Performance” SCAN: Journal of Media Arts Culture, peer-reviewed online journal, (www.scan.net.au).

Klich, R. “Between Realities: Intermediality and the Blurring of Boundaries in Multimedia Theatre” in Sugiera, M and Borowski, M eds (2007) Fictional Realities/Real Fictions: Contemporary Theatre in Search of a New Mimetic Paradigm, Newcastle United Kingdom: Cambridge Scholars Press.

Klich, R (2005) “David Pledger: On Eavesdrop and New Media” Performance Paradigm Journal, Vol 1, refereed e-journal, (www.performanceparadigmjournal.org.au). Klich, R. (2005) “The Play’s The Thing No Longer: Non-Linear Narrative in Kate Champion’s ‘Same, Same But Different”, Australasian Drama Studies Journal, no. 46 (pp. 58-69).

Recent papers:

March 2011, "Systems of Spectatorship: Presence, Play, and Performance in Blast Theory's Games" at the conference Spectatorship: Bodily Movements and Relational Performances, part of the festival The Game is Up!, Balzaal Vooruit, Ghent, Belgium.

July 2010, "Performing at a Distance: Place, Pattern and Posthumanism" at the conference Cultures of Modernity, Annual Conference of the International Federation for Theatre Research, Ludwig-Maximilians-Universität, Munich, Germany.

May 2010, Keynote paper “Cyborgs, Robots, Mutants and the Unfinished Human” at the conference (re)-Performing the Posthuman, University of Sussex, Brighton.

March 2010 Keynote paper at postgraduate symposium Dealing with the Digital, Theatre and Performance Research Association (TAPRA), Royal Holloway University, London.

March 2009 “What’s behind the smile: The mediated other in performance”, conference Performing Presence: From the live to the simulated, University of Exeter, UK.

 

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Rosemary’s teaching portfolio reflects her wide range of interests and areas of speciality. She teaches both practical and theory based modules and believes in utilizing diverse teaching and assessment strategies. She undertook an Erasmus teaching mobility to Utrecht University in September 2010, and uses her research to inform her module content. While specific modules taught may vary in different terms, modules convened include:

• Modern Theatre – A first year module introducing significant 20th century theatre movements and practitioners.
• Multimedia Theatre – A second year module exploring the relationship of live and mediated arts, and examining different manifestations of multimedia theatre.
• Performance and Art: Intermediality from Wagner to the Virtual – A second year module addressing the history of performance art and experimental performance across media.
• Acting – A second year workshop based module.
• Performing Classical Texts – A third year workshop based module that develops skills required to perform Shakespearean characters.
• Performance the Seminar – A third year module focused on analyzing and reviewing contemporary performance.

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My research interests currently focus around three key areas. Firstly, I have been researching the area of multimedia theatre, analysing and investigating the different forms and trying to delineate the different modes and means of communication operating in the area. On the one hand I am interested in theatre where media technologies are brought into the theatrical frame, and on the other, where media technologies are used in a theatrical or performative way. I’ve also been conscious of trying to link the field of practice with key ideas and dialogues in both theatre and media studies.

Secondly, I am currently investigating different valences of the term ‘interactivity’ in relation to theatre. Theatre can facilitate various degrees of direct audience participation and offer the audience the power not only to interpret the artwork but, individually or collectively, to change, navigate, negotiate, create and re-create the artwork. I am keen to further develop a vocabulary, a history, and a typology of forms of interactive performance.

Finally, I am interested in how theatre is acting as a forum for the exploration of the contemporary human experience, an experience shaped by the ubiquity of digital media and the development of a 'posthuman' perspective.

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My supervision interests include the areas of

• new media and performance
• interactive performance
• spectatorship
• performance art
• contemporary performance practice.

I welcome proposals for postgraduate research in these fields.

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