Recently I returned from a conference at the University of Bordeaux which focused on a topic that, until fairly recently, I imagined as just a hobby: professional wrestling. Understand, I am probably not a typical (should that be ‘stereotypical’?) wrestling fan nor am I a practising wrestler myself. However, for a number of years now, I have been interested in the way wrestling (or ‘sports entertainment’ as the WWE would have it) engages with issues of performance, issues similar to those I encounter everyday in my role as a scholar and teacher of performance and theatre history. There are actors, scripts, storylines, character types, directors, but, most interestingly of all, a dynamic relationship between actor and audience, worker (wrestler) and the crowd. In my paper, I claimed that wrestling provides one of the most democratic (or at least potentially democratic) contemporary performance forms. In which other theatrical form, I asked, can the audience make such a profound and dramatic difference to the performance? In the indie wrestling scene, such a proclamation is a given. However, I ruminated, could the same be said of the capitalist juggernaut  that is Vince McMahon’s WWE? For those who are interested, I used two case studies: The Rock v Hulk Hogan from Wrestlemania 2002 and Brock Lesnar v Bill Goldberg from Wrestlemania 2004 (both are on youtube). In both, the response of the audience was somewhat unexpected, certainly ungovernable and led to a significant change in storyline as the matches took place.

This conference confirmed that I was not alone in believing that professional wrestling, far from being empty entertainment for the masses, could be a legitimate focus for scholarly study. Le Catch et… was a surprisingly rigorous conference; the scholarship was excellent and well-researched, and the presenters from a range of academic and non-academic backgrounds. Furthermore, it reminded me of the importance of taking research risks. While I am a modernist by trade, I am aware of the need to stretch myself, to discover new research pathways and to always maintain a contemporary focus. This conference confirmed that I could do this and that the very act of pushing research boundaries (and simultaneously pushing ourselves as scholars) is remarkably fulfilling.

During the first term I have had the pleasure of a sabbatical in order to write my second book. It has been a super time of reading, writing and travelling around giving talks, attending conferences and promoting the first book. But one of the most beneficial aspects of my sabbatical has been my participation in AcWrMo (Academic Writing Month). NaNoWriMo has existed for a number of years, challenging participants to write 50,000 words of that promised novel in a month. Now academia has jumped onboard through the website PhD2Published and on Twitter through the ‘acwri’ hashtag.

Focusing just on writing through November has been a challenge but extraordinarily profitable. The new book now has 32,000 words (ish). I have also completed a funding application, constructed a four year research plan, begun the proposal and sample chapter for the third monograph and written three chapter/conference paper proposals. The supportive online network created is dominated by early career academics with a welcome smattering of more experienced colleagues who have been a constant source of advice. Through this process I have learnt that writing a little everyday is how I work best and I am determined to maintain this pattern when I return to teaching in January. I have also learnt the importance of mutual mentoring and have been amazed at participants’ constant positivity. Although academia is a competitive profession, this doesn’t prevent us from encouraging one another.

And December? Well after a month of writing, a dedicated month of reading sounded nice and I was asked to write a post for PhD2Published about my BoReMo (Book Reading Month). If this month and a bit has taught me anything it is that setting our own research challenges in a supportive environment really does lead to more productive days.

Here is a link to my most recent performance review for Early Modern Literary Studies. It is a musing on The Crucible’s wonderful production of ‘Othello’ last November. Given that the two leads (Dominic West and Clarke Peters) are best known for their performances in HBO’s acclaimed series ‘The Wire’, the review considers the parallels and connections that can be made between this and Shakespeare’s classic play.

Following on from my previous posts for the website PhD2Published, here’s a new one about risk taking in academia. It is partly based on a ‘wonderous’ night of progressive rock with Yes in Glasgow and partly in response to some of my own thoughts this term. Enjoy!

A few weeks ago I indulged another of my slightly off-the-wall passions by heading to Glasgow for a Yes gig. Progressive rock (at least the softer side of this movement) is one of my ever-growing interests. Before discovering these bands I only listened to classical music in the assumption that only poor musicians play rock. How wrong I was! I am always amazed by the dexterity, talent and incredible musicianship of these performers and, even as they get older, their commitment to creating challenging music. For these guys are risk takers. They do not hide behind G,D,C chords or 4/4 time signatures; their music is dangerous, unpredictable and exciting. Through all the perils of tough tempos and impossible lyrics, they strive for excellence while being aware that such risks might necessarily mean that perfection is impossible. As always, I find it inconceivable to disconnect my work from my passions and began to wonder how we might incorporate a level of risk taking into our daily academic lives…read more

Inspired by my students’ recent rehearsal process and conversations with colleagues, I have written a short article on presenting papers at conferences for the website PhD2Published.