My research is focused on the material cultures of costume, performance design, and architecture. I have published several chapters and peer-reviewed articles on subjects such as costume politics and architectural performativity. In 2013, I co-founded the research network Critical Costume and co-edited a special issue of Scene (Intellect) on costume practices. My first monograph entitled Beyond Scenography (Routledge 2018) argues the theoretical potential of scenography in relationship to contemporary theatre and art practice. Since 2014, I have been an Executive Officer for the Theatre and Performance Research Association (TaPRA), having previously co-convened the Scenography working group (2010-2013).
Areas of specialism
Digital Humanities (virtual archaeology);
University roles and responsibilities
- Deputy Associate Dean, Doctoral College
- Director of Postgraduate Research, GSA
Title: 'Computer-based 3D Visualization for Theatre Research: Towards an understanding of unrealized Utopian theatre architecture from the 1920s and 1930s’
Supervised by Prof. Christopher Baugh and Dr Scott Palmer
- Practice Research
- Digital Humanities (virtual archeology)
- Modernist Performance
- Performing Technologies
In 2018 Semester 2, I am teaching on the following modules:
THE3010: Theory, Design, Practice
THE2025: Research Methodologies
THE2020: Independent Study
Courses I teach on
Postgraduate research supervision
As Principal Supervisor:
Ele Slade: 'Scenographic Sensibilities beyond design' (AHRC TECHNE funded)
Meg Cunningham: 'World-building and immersive scenography'
Michelle Man: 'Lighting States - Lighting Scapes: Transformative Encounters with Light in the Development of Choreographic Language'
Will Osmond: 'Live Action Role Play and Methexis' (FASS Funded)
Melissa Addey: 'Imagining a Garden of Perfect Brightness How do writers of historical fiction recreate lost landscapes?' (FASS Funded)
Completed postgraduate research projects I have supervised
James Burrows, Department of Performing Arts, Edge Hill University
Emma Deeks, Department of English and History, Edge Hill University
. Based on this broad outline, the PQ tribes were suitably diverse and focused on a range of different concerns. Some, such as Hideki Seo?s Jump!, evoked the logic and context of the fashion catwalk. Others, as exemplified by Simona Rybáková Swans, adorned costumes originally designed for theatrical performances. There were, however, a number of PQ tribes that aimed to enact or provoke an overtly political intervention: where the enactment of a tribe was a conscious act of rupture within the everyday flow of the city. Lotker?s call focused on this attribute most explicitly by noting that the PQ tribes ?will install healing tribes on the weak points of the city of Prague to question everything? (Lotker 2014). These ?weak points? included the exchange of money, the physical dimensions of the underground system, and the way public space is policed (whether formally or informally). Consequently, this interventionist quality of the PQ tribes invites a distinct focus on how the subversive qualities of costuming expose how appearance is recognised, understood and regulated.
Hann, R. (2018) Beyond Scenography, London: Routledge (forthcoming)
Hann, R. and Ladron de Guevara, V. (2015) 'Addressing Practice: Introducing a new section for STP', Studies in Theatre and Performance 35.1: 3-6
Hann, R. (2012) 'Theatre has Left the Building: Theatre and Performance Architecture in the 21st Century', Australasian Drama Studies 61.1: 159-161
Hann, R. (2011) 'Hellerau Returned', ERA21 (Czech Journal of Architecture) 10.2: 50-51 [translated into Czech]