Professor Jonathan Pitches
Professor of Theatre and Performance
0113 343 8718
PCI Building, Room G.08
Office hours: By arrangement
BA (Hons), MPhil, PhD
As Professor of Theatre and Performance in PCI I have research interests in all aspects of performer training and directing, in environmental performance and in blended learning. I co-edit the Journal of Theatre, Dance and Performance Training and have just finished editing two large book projects: Stanislavsky in the World (with Stefan Aquilina, Bloomsbury Methuen Drama, 2017) and Great Stage Directors – Copeau, Komisarjevsky and Guthrie (Bloomsbury Methuen Drama 2018). My priority now is finishing a monograph Performing Landscapes: Mountains (Palgrave 2018) as part of an 18 month AHRC-funded fellowship.
I was appointed to the Chair of Theatre & Performance in the School in 2006, and finished a three and a half year period as Director of Research for PCI in 2014, leading the School’s submission for the last REF. I led the Practitioner Processes Research group for nine years and very much enjoyed being the first Blended Learning Champion for the PVAC faculty (2013-16). Before moving to Leeds I worked in the Dept of Contemporary Arts in MMU and before that I enjoyed ten years at what is now Northampton University, defining an approach to research-led teaching which I have continued ever since. Throughout my time as an academic I have been interested in performer training, beginning with Russian approaches to actor training and expanding out more recently to the UK, US and China. Although not strictly a practice-led researcher, (my thesis was a 100,000 words long!) I have always based my research and writing on a deep curiosity and engagement with laboratory training practices and this interest has taken me to Japan, China, Malta and Australia to explore these practices with students and professional actors. Most recently I have developed an all-consuming interest in the relationship between theatre, performance and mountains and started an 18 month project funded by the AHRC to write about this in October 2016. My formal partner on this project is Kendal Mountain Festival.
- Environmental Performance (Mountains)
- Performer training methodologies and their transmission across borders
- The histories and practices of Russian and East European traditions specifically: Theodore Komisarjevsky, Stanislavsky, Meyerhold, Michael Chekhov, and their tributaries.
- Digital Reflection and Blended Learning
- Inter-cultural performance practices
- Interdisciplinary research methods for performance studies, specifically those drawing on science and geography
BA Theatre and Performance: Performance Perspectives, Performer Training in the C20th and C21st, Interpreting Theatre Histories, Independent Research Project Supervisor
MA Performance, Culture and Context: Research Project Supervisor
- Chair in Theatre and Performance
- Director of Impact and Innovation
- School Ethics Representative
- Co editor (with Dr Libby Worth) of Theatre Dance and Performance Training (Oxon and New York: Routledge) http://www.tandf.co.uk/journals/rtdp
(2018) Performing Landscapes: Mountains. Performing Landscapes. Palgrave. (In preparation)
(2017) Stanislavsky in the World: the System and its transformations across continents. London: Bloomsbury.
(2012) Russians in Britain: British theatre and the Russian tradition of actor training.
(2012) The Russians in Britain: British Theatre and the Influence of the Russian Tradition of Acting. Abingdon: Routledge.
(2011) Performance Perspectives: A Critical Introduction. Basingstoke: Palgrave MacMillan.
(2006) Science and the Stanislavsky tradition of acting. Routledge.
(2003) Vsevolod Meyerhold. London ; New York : Routledge.
Great Theatre Directors Volume 3: Komisarjevsky, Copeau, Guthrie. London: Bloomsbury. (Submitted)
(2017) “Editorial”, Theatre, Dance and Performance Training. 8.3: 235-237.
(2017) “Training and … the wild(erness)”, Theatre, Dance and Performance Training. 8.3: 356-359.
(2017) “Editorial”, Theatre, Dance and Performance Training. 8.1: 1-4.
(2016) “Editorial”, Theatre, Dance and Performance Training. 7.1: 1-3.
(2015) “Editorial”, Theatre, Dance and Performance Training. 6.3: 269-272.
(2015) “Editorial”, Theatre, Dance and Performance Training. 6.1: 1-2.
(2014) “Editorial”, Theatre, Dance and Performance Training. 5.1: 1-3.
(2014) “Editorial”, Theatre, Dance and Performance Training. 5.3: 239-241.
(2013) “Editorial”, Theatre, Dance and Performance Training. 4.3: 333-335.
(2013) “The technique in Microcosm: Michael Chekhov’s work on the Fishing Scene”, Theatre, Dance and Performance Training Pitches JD; Kirrillov A (eds.). Michael Chekhov Special Issue. 4.2: 219-236.
DOI: 10.1080/19443927.2013.797486, Repository URL: http://eprints.whiterose.ac.uk/76146/
(2013) “Editorial”, Theatre, Dance and Performance Training. 4.2: 143-145.
(2013) “Editorial”, Theatre, Dance and Performance Training. 4.1: 1-3.
(2013) “Digital Reflection: Using Digital Technologies to Enhance and Embed Creative Processes”, Journal of Technology, Pedagogy and Education. 22.2
(2013) “Untitled”, REVUE NEUROLOGIQUE. 169.1: 1-1.
(2012) “Editorial”, Theatre, Dance and Performance Training. 3.3: 285-287.
(2012) “The end of the hour-glass: alternative conceptions of intercultural exchange between European and Chinese operatic forms”, Studies in Theatre and Performance. 32.2: 121-137.
DOI: 10.1386/stap.32.2.121_1, Repository URL: http://eprints.whiterose.ac.uk/84209/
(2012) “Editorial”, Theatre, Dance and Performance Training. 3.1: 1-3.
(2012) “Untitled”, JOURNAL OF GENETICS AND GENOMICS. 39.1: 1-2.
(2012) “The mechanics of tradition making INTRODUCTION”, RUSSIANS IN BRITAIN: BRITISH THEATRE AND THE RUSSIAN TRADITION OF ACTOR TRAINING. : 1-11.
(2011) “Editorial issue 2.2”, Theatre, Dance and Performance Training. 2.2: 135-137.
(2011) “Theatre, Dance and Performance Training: Editorial”, Theatre, Dance and Performance Training. 2.1: 1-3.
(2010) “Editorial”, Theatre, Dance and Performance Training. 1.2: 139-140.
(2010) “Editorial”, Theatre, Dance and Performance Training. 1.1: 1-3.
(2009) “Spinal Snaps: tracing a backstory of European actor training”, Performance Research Gough R; Shepherd S (eds.). 14.2: 85-95.
DOI: 10.1080/13528160903319604, Repository URL: http://eprints.whiterose.ac.uk/75343/
(2007) “Towards a Platonic paradigm of performer training: Michael Chekhov and Anatoly Vasiliev”, Contemporary Theatre Review. 17.1: 28-40.
(2005) “‘Is It All Going Soft?’ The Turning Point in Russian Actor Training”, New Theatre Quarterly. 21.2: 108-117.
(2001) “NTQ Reports and Announcements”, New Theatre Quarterly. 17.1: 87+.
(1999) “Atmosphere, space, stasis: Staging pinter’s mountain language and a kind of alaska using the techniques of Michael Chekhov”, Studies in Theatre Production. 19.1: 36-66.
(1997) “Two perspectives on the phenomenon of biomechanics in contemporary performance: An account of gogol’s the government inspector in production”, Studies in Theatre Production. 16.1: 93-128.
(2018) “Stanislavsky with Chinese Characteristics: how the System was introduced into China”, In: Pitches J; Aquilina S (eds.) Stanislavsky in the World.
(2017) “Deep and dark play in the alps: Daring acts and their retelling”, In: Mountains, Mobilities and Movement. 15-35
(2016) “Introduction to Meyerhold on Theatre”, In: Braun E (eds.) Meyerhold on Theatre. 4th. London: Bloomsbury. 1-18
Repository URL: http://eprints.whiterose.ac.uk/94003/
(2015) “Contrasting modernities: The rural and the urban in Michael Chekhov's psychological gesture and meyerhold's biomechanical études”, In: The Routledge Companion to Michael Chekhov. 219-234
DOI: 10.4324/9781315716398, Repository URL: http://eprints.whiterose.ac.uk/85311/
(2015) “Technique: Training the Actor’s Voice and Body”, In: Evans M (eds.) The Actor Training Reader. Abingdon: Routledge.
Repository URL: http://eprints.whiterose.ac.uk/85312/
(2013) “Star or Team? Theodore Komisarjevsky’s early developments in ensemble playing in the UK”, In: Britton J (eds.) Encountering Ensemble. London: Methuen. 94-110
(2011) “Performer Training: Researching Practice in the Theatre Laboratory”, In: Kershaw B; Nicholson H (eds.) Research Methods in Theatre and Performance. Research Methods for the Arts and Humanities. Edinburgh: Edinburgh University Press. 137-161
(2010) “Negotiations in the Uncomfortable Zone: Identity, Tradition and the Space Between European and Chinese Opera”, In: Walling M (eds.) The Orientations Trilogy: Theatre and Gender: Asia and Europe. Middlesex: Border Crossing Ltd. 196-210
(2007) “Routes or Roots: the Technical Traditions of Contemporary Physical Theatres”, In: Murray S; Keefe J (eds.) Physical Theatres: a Reader. Abingdon: Routledge. 46-54
Repository URL: http://eprints.whiterose.ac.uk/75467/
Research Projects & Grants
In October 2016 I began an 18 month research fellowship funded by the AHRC (£250K): Performing Landscapes Mountains. The press release for this project is here.
In 2013 I was the Leeds lead on a White Rose Network directed by Sheffield University. Performing the Past, was a year long series of workshops bringing archaeologists, heritage experts and theatre and performance academics together with industry partners. A driving theme was to debate the power of performance for articulating lived experiences of communities whose voices were often overpowered or suppressed by ‘official’ commentators.
Research Centres & Groups
Place and Performance Research Group
Performance Training, Preparation and Pedagogy Research Group
TaPRA Performer Training Working Group (co-founder)
International Platform for Perfomer Training
I have examined 23 PhDs in total including 5 practice-led research theses and one Doctor of Creative Industry. These include PhDs on: Actor training and dyslexia, Meyerhold’s biomechanics, Michael Chekhov, Training kinaesthesia, Creative writing and lucid dreaming, Sanford Meisner, Dark Play, Jerzy Grotowski and Stanislavsky.
2017-21 External for MA Classical Acting, Royal Conservatoire of Scotland
2016-19 External for BA Drama, University of East Anglia
2014-16 External for BA Drama, Exeter University
2011-15 External for BA in Theatre and Performance and BA Theatre English, University of Sheffield
2009-13 External for BA Acting, CSSD, University of London
2007-11 External for M.Res Theatre and Contemporary Practice, University of Hull@Scarborough
2005-8 External for BA Drama Theatre and Performance, Roehampton University
2002-6 External for BA Drama, University of Sunderland
Visiting Professorships and consultancy
2012-18: Visiting Professor, Queensland University of Technology, Brisbane
2010: Visiting Professor, Malta University
2009-15: Member of AHRC Peer Review College
2006- Academic Associate of Michael Chekhov Centre UK
2004- Reader and academic consultant for Routledge, Palgrave, Bloomsbury Methuen Drama, Intellect.
PhD & Postdoctoral Supervision
David Shearing: Performing Landscapes: Mountains
Current PhD Students
Clare Danek: Working alone, working together – making the case for open access communal making spaces
Oliver Bray: The Oulipo movement: then and now
Meng-Chian Lee: Intercultural Adaptations and Interpretations in Taiwanese Contemporary Theatre
Carole Kirk: Dancing with Paint: An exploration of creativity and its relationship to knowledge
Simone Kenyon: Walking out of the body and into the Mountain: dancing, mountaineering and embodied ways of knowing.
Previous PhD Students with completions
Kemi Ilori: The Theatre of Wole Soyinka
Jess Walker (commended for research excellence): The opera singer as creator and collaborator – working towards a new model for contemporary music theatre
Bryan Brown: The evolution of the phenomenon of the theatre laboratory
Stefan Aquilina: Transforming Everyday Life: the Political Struggles of Meyerhold, Stanislavski and Amateur Theatres (with University of Malta)
Vicky Hunter: Site-specific Dance (practice-led)
Jenny Lawson: Playing with the Domestic Goddess: Performance Interventions into Contemporary Food Culture (practice-led)
Polly Williams: Living Histories: Performing Work and Working Lives in the Industrial Museum (CDA)
Demetris Zavros: Music Theatre as Music (practice-led)
PhD (no corrections), University of East Anglia: The Psycho-physical Actor: Science and the Stanislavsky Tradition
Black Rock, Directed and designed by David Shearing, stage@leeds November 2018