Bibliography

Publications

  • Paris, H and Hill, L (forthcoming 2019) ‘Performance Making: Curious Methods’. London: Intellect. A practice-based methodology book for emerging artists, looking for generative tools to help them make original performance work and design interdisciplinary and collaborative projects. It is also for teachers looking for creative exercises to run in the classroom, working with students on solo, collaborative, socially engaged art works.
  • Hill, L (2018) Sex Suffrage and the Stage. London: Palgrave Macmillan
  • Paris H and Hill, L (eds) (2018) Artist’s Border Panic Compendium publication commissioned by the Jerwood Charitable Foundation and the Live Art Development Agency, London featuring contemporary work with borders, Nationalism and immigration.
  • Paris, H and Hill, L (2014) Performing Proximity. London: Palgrave Macmillan.
  • Paris, H and Hill, L (2007) Greenham Common. Artist Book, London: Artsadmin. Commissioned by New Greenham Arts and Corn Exchange.
  • Paris, H and Hill, L (eds.) (2006) Performance and Place. London: Palgrave Macmillan.
  • Paris, H and Hill, L (eds.) (2004) Guerilla Performance: How To Make a Living as an Artist. London: Continuum.
  • Paris, H and Hill, L (eds.) (2001) Guerilla Performance & Multimedia. London: Continuum. Paris

Selected Articls and Chapters

  • Paris, H (forthcoming, 2018) ‘Performing Encounters’ in Blackwell’s Handbook of Performance Studies.
  • Paris, H (2017) ‘Holding Time’ in Imagined Theatres: Writing for a Theoretical Stage by Daniel Sack (ed.). Routledge.
  • Paris, H (2016) ‘Close Performance’ in Performance: from Making to Museum for Tate Modern, London.
  • Paris, H (2014) ‘Still. Moving’ in Choreographic Dwelling, G. Schiller and S. Rubridge, (eds). Palgrave Macmillan.
  • Paris, H (2012) ‘Below the Surface’ in Performance and Technology: Practices of Empowerment, Embodiment and Technicity, Broadhurst, S and Machon, J, (eds). Palgrave Macmillan.
  • Hill, L, (2012) ‘(be)longing: A Case Study of Recording and Representation’ in Performance and Technology: Practices of Empowerment, Embodiment and Technicity, Broadhurst, S and Machon, J, (eds) (Palgrave Macmillan
  • Paris, H (2009) ‘The Smell of it’ in Freeman, J. Blood, Sweat & Theory: Research through Practice in Performance. Middlesex University Press.
  • Paris, H and Hill, L (2009) ‘Curious Interview’ in Machon, J. (Syn)aesthetics. London: Palgrave Macmillan.
  • Paris, H (2008) ‘Curious Journey’ In Theatre/Public. Paris.
  • Hill, L., 2008. Review of Ethno-Techno: Writings on Performance, Activism and Pedagogy by Guillermo Gomez-Pena. (Reprinted) In Live Art Almanac, London: Live Art Development Agency.
  • Paris, H and Hill, L (2008) ‘Being Curious’ in Aston, E. and Harris, G. (eds) Performance Practices and Process. London: Palgrave Macmillan.
  • Paris, H (2007) Review of The Senses in Performance in Contemporary Theatre Review.
  • Paris, H and Hill, L (2006) ‘Curious Feminists’ in Aston, E. and Harris, G. (eds) Feminist Futures. London: Palgrave Macmillan.
  • Paris, H (2006) ‘Too Close for Comfort’ in Hill, L. and Paris, H., (eds) Performance and Place. London: Palgrave Macmillan.
  • Paris, H and Hill, L (2005) ‘One to One’ in We Love You: Reflections on Audiences. London: Goethe Institute.
  • Paris, H and Hill, L, and Bhalla, U (2004) On the Scent. In Arends B. and Slater, V., (eds) Talking Back to Science: Art, Science and The Personal. London: The Wellcome Trust.
  • Paris, H and Hill, L (2003) ‘On the Scent’ in Performance Research: On Smell. London: Routledge.
  • Paris, H (2002) ‘One to One: Lone Journeys’ in Languages of Theatre Shaped by Women, Goodman, L. and de Gay, J. (eds) Bristol: Intellect.
  • Paris, H (2002) ‘Crossing Wires, Shifting Boundaries’ in Bailes, S., and Derno, M (eds) Women and Performance: a journal of Feminist Theory, Issue 26. NYU: New York.
  • Paris, H (2002) ‘Ontology of the Olfactory’ in Tessera. U. Montreal: Montreal.
  • Hill, L., 2002. Terra Incognita. In Wolf-Meyer, M., ed., Reconstruction: An Interdisciplinary Culture Studies Community: Autobiogeography: Considering Space and Identity
  • Hill, L., 2001. Scratch in the Record. In Goodman, L. and deGay, J., eds., Languages of Theatre Shaped by Women. Bristol: Intellect.
  • Paris, H (2000) ‘Vena Amoris’ in Live Art Magazine. Nottingham: NTU press.
  • Hill, L., 2000. Suffragettes Invented Performance Art. In Goodman, L., ed., The Routledge Performance Reader. London: Routledge.
  • Hill, L., 1999. The Day Don Came With the Fish. In In the Event of Text: Ephemeralities of Writing. Utretch: G F Smith.
  • Hill, L and Paris, H (1998) ‘I never go anywhere I can’t drive myself’ in Performance Research, On Place Volume 3, No. 2. London: Routledge.
  • Hill, L., 1998. Fleshing it Out. In Chowdry, M. and Rapi, N., eds., Acts of Passion: Sexuality, Gender and Performance. New York: Hawthorn Press.
  • Hill, L., 1998. Push the Boat Out. In New Theatre Quarterly. Cambridge: CUP. Hill, L., 1998. Deus ex Machina. In, New Theatre Quarterly. Cambridge

DVD

  • Paris, H and Hill, L. (2010) Gut Feelings. Distributed by Unbound, London.
  • Paris, H and Hill, L. (2007) (be)longing. First Screened 24th May, Genesis Cinema, London. London: CVS. ISBN 0-9524337-5-3.
  • Paris, H and Hill, L. (2005) Lost & Found. Manchester: Cornerhouse. ISBN 978-0- 9551295-1-3
  • Paris, H and Hill, L. (2004) Red Lantern House. UK: British Council.
  • Paris, H and Hill, L. (2004) Essences of London. London: Tribal. ISBN 0- 9524337-4-5.

Publications/citations about the work of Curious

  • Œuvres commentées in Respirez l’Art, L’Olfaction Dans la Creation Respirez l’ Art in Arts Hebdo Medias Journal, March 2015
  • Recent press includes: The Guardian, The Independent, BBC Radio 2 Annika Rice Arts Programme, The Herald, Scotland on Sunday, Daily Telegraph, The Times, Metro, BBC Reporting Scotland evening news.
  • Schiller, Gretchen (2015) Se Mouvoir, une question de survie in Jouer (avec) la vieillesse. in the journal Recherches et Travaux, editor Ariane Martinez, Grenoble : Editions ELLUG
  • Drobnick, J. (2014) ‘Smell: The Hybrid Art’, in Chantal Jaquet (ed.), L’Art Olfactif Contemporain (Paris: Sorbonne).
  • Freeman, J. (2009) Blood, Sweat & Theory: Research through Practice in Performance. London: Middlesex University Press.
  • Machon, J. 2009 (Syn)aesthetics. London: Palgrave Macmillan.__Aston, E. and Harris, G., (2008) ’Being Curious’ in Performance Practices and
  • Process, Aston and Harris (eds.), (London: Palgrave Macmillan) 2008. Heddon, D (2008) Autobiography and Performance. London: Palgrave MacMillan.
  • Schmidt, T. (2008) ‘Vena Amoris’ in Live Art Almanac. London: Live Art Development Agency.
  • Dixon, S. (2007) Digital Performance. Cambridge: MIT Press.__Elwes, C. (2004) Talking Back to Science: Art, Science and the Personal.
  • Arends B. and Slater, V. (eds) London: Wellcome Trust. Millard, R., 2004. On the Scent in The New Statesman.
  • Chalmers, J. and Chaudhuri, U. (2004) ‘Sniff Art’ in TDR/The Drama Review, Vol. 48, No. 2 (T182), Pages 76-80: 76-80.
  • Hyde, A. (2004) ‘On the Scent’ in New York Arts Magazine, May issue.
  • Singh, S. (2003) ‘A Sense of Wonder’ in New Scientist, vol 177 issue 2384 – 01 March 2003.
  • Goodman, L., and de Gay, J., eds (2000) The Routledge Reader in Politics and Performance. London: Routledge.
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  • Ayres, R. (2000) ‘Body Language’ In Contemporary Visual Arts Magazine, issue 27, February.
  • Goodman, L. (1999) Sexuality in Performance: Replaying Gender in Theatre and Culture. London: Routledge.
  • Loveless R., and Goodman, L. (1999) ‘New Media Performance: the Next Frontier’ In Alsopp R., and DelaHunta S., eds. Performance Research. London: Routledge.
  • Adshead-Lansdale, J. (1998) in Goodman, L., and deGay, J. eds. The Routledge Reader in Gender and Performance. London: Routledge.