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Dr Natalie Raven

Lecturer

Co-convener of SCION: The Sustainability, Creativity, & Innovation Research Group

School of Arts, Humanities & Social Sciences

01752 636700

nraven@marjon.ac.uk


Natalie Raven

Role Summary

 

Dr Natalie Raven is a proudly working-class scholar and performance artist with over 12 years professional experience in industry, presenting and exhibiting her work across Europe and North America.

Natalie has research interests in: performer training; textiles in performance art; scenographic approaches to performance making; new materialism; feminist performance (1960 - present); body-based practice; queer performance; semiotic and phenomenological approaches to performance making; re/presentations of self and identity in performance.

Expressions of interest for postgraduate supervision in these areas are welcomed. 

 

Natalie is:

UCU Equalities Officer, Plymouth Marjon University

Committee Member: De-colonising the Curriculum


Qualifications

 

Education

 

Postgraduate Certificate in Learning & Teaching in Higher Education (2022)

Ph.D Performance Studies (2020) 

MA Drama (2012)

BA (hons) English and Drama (2008)

 

Professional Development in Higher Education

 

Professional Development for External Examiners (2021)

Professional Development in Academic Practice (2016)

Associate Fellowship of the Higher Education Academy (2016)

 


Teaching

 

Acting BA (hons)

Musical Theatre BA (hons)

Journalism BA (hons)

 


Research

 

Scholarly Presentation

 

  • (2022) Pop Music Videos and Kinship Midst Covid for GRiT: Graduate Research in Theatre group at Birkbeck Centre for Contemporary Theatre, Birckbeck University of London
  • (2021) Site-responsive attunement and DIY film making as method of collaborative art making and deepening kinship for TaPRA conference, Liverpool Hope University
  • (2020) Mentor & Mentee; A Conversation about PhD Mentoring for Wellbeing for Advance HE Student Retention and Success Symposium
  • (2020) Art History, Adornment, and Agency in The Ascension of Esther for Critical Costume, Oslo National Academy of the Arts
  • (2020) Co-Watching Orlando: A presentation of practice research in the processes of becoming for PEPTalks University of Plymouth
  • (2019) 'Pecking Order: The Observation Nest: Resisting the Regulations of Site/Space' for TATE Modern, London UK
  • (2019) Making at Maker Heights - Artistic Research and Development Documentation [digital AV] for Tapra Gallery, University of Exeter
  • (2019) Staging Bodies in Situ: Artistic Responses to Working with/in Landscape TaPRA conference, University of Exeter
  • (2019) Pregnancy< >Abortion: Standing in the Chasm at The Lived Female Body in Performance conference, University of Leeds 
  • (2018) Piercing Poetics of the Body for PEPTalks, University of Plymouth
  • (2017) Between Action and Response; la sainte trinite for TaPRA conference, University of Salford 
  • (2017) Magic, Witchcraft, Ritual: Getting Down to Earth for On The Moors conference, University of Plymouth
  • (2017) Artist Academia and the Aldi Carrier Bag for Buzzcut Festival, Glasgow UK
  • (2017) la sainte trinité, unveiled for PEPTalks, University of Plymouth
  • (2016) sa réécriture [re-writing her] for Borderlines conference, De Montfort University
  • (2015) Spill 2014: Adorning the Body for Critical Costume conference, Aalto University Finland
  • (2015) Interpreting Ono for PEPTalks, University of Plymouth

 

Performance, Collection, and Exhibition

 

  • (2020) (I'll Never Be) Maria Magdalene [digital AV] for The Box Covid-19 Emergency Commission 
  • (2019) The Ascension of Esther [live performance] at St Saviours Hall, Plymouth UK
  • (2019) Making at Maker Heights - Artistic Research and Development Documentation [digital AV] at TaPRA Gallery, University of Exeter
  • (2019) Womxn, Textile, Landscape - steadfast on the Rame Peninsular [digital image on mount board] at TaPRA Gallery, University of Exeter
  • (2017) Protruding the Veil [live performance], developed as part of Approaches to Embodied Islam workshop for LADA DIY 14, at TATE Britain, London UK 
  • (2017) The Henry Moore Workout [live performance], KOKO, London
  • (2017) la sainte trinité [digital AV] entered into Live Art Development Agency (LADA) archival collection, London UK. 
  • (2017) Leviathan. Dir. Shezad Dawood [feature film], Venice Biennial, IT
  • (2017) emending eve  [9 photographic prints in series] exhibited at Elberson Fine Arts Center, USA. Artworks produced in collaboration with Kimberly Varnadoe.
  • (2017) Buckfast Bible Drinking [participatory performance] for Buzzcut festival, Glasgow UK
  • (2016 ) The Ties That Bind Veiled Visions [perfomance-to-camera digital images] at Black Mountain School, NC USA
  • (2016) la sainte trinité [live performance] for SPILL International Festival of Performance, Ipswitch UK
  • (2016) Sackcloth and Ashes [live performance] for Tempting Failure, London UK
  • (2016) Sa Réécriture [re-writing her]  [live performance] for Borderlines Conference, De Montfort University Leicester
  • (2016) Tarot [1:1 performance] at The Duke of Cornwall Hotel, Plymouth UK
  • (2015) body-cloth [live performance] at University of Plymouth, UK
  • (2015) Easy Rider [live performance] for Little Wolf Parade, Nottingham UK
  • (2012) la femme sale [live performance] for World Event Young Artists, Nottingham UK
  • 2012) Seven Pounds of Flesh [performance-to-camera] for World Event Young Artists, Nottingham UK
  • (2011) Other Women [live performance] for circuit Festival of Performance, De Montfort University(2011) 
  • (2011) Opening Hours [performance participant with Zoo Indigo] for Nottingham European Arts and Theatre Festival
  • (2010) Greek and East by Steven Berkoff [assistant director to Paul Kerryson], Curve Theatre, Leicester
  • (2010) Simon Emmerson at 60 [Dir. Leigh Landy, live performance] with Dirty Electronics Ensemble
  • (2009) Home[less] [site-specific performance-to-camera], Queen Street, Toronto Canada


Publications

 

 

  • (In development) “Co-Watching Orlando: a practice research exploration of creativity, kinship, costume, and ‘seeing white’” with Davina Kirkpatrick for The Tilda Project: Film, Fashion, and Performance, (Sarah Gilligan Ed.,) London, Intellect Books.
  • (In development) ‘Mentor, Mentee, and the Deep Blue Sea: A collaborative authoethnography if an usual approach to Ph.D mentoring[article] with Dr. Lucy Spowart
  • (2020) Bodycloth in Performance Art [PhD thesis], University of Plymouth
  • (2018) ‘When does it Start?' for On Time: A SPILL Reader, Ipswich: Paccitti Company Publishing
  • (2018) 'Between Material and the Body: How Drapery Performs' in Materials of Resistance. Plymouth: Clare Thornton Publishing 
  • (2016) 'Tempting Failure for Total Theatre Review' in The Live Art Almanac Volume 4. London: LADA and Oberon Books 
  • (2015) ‘Spill Geist: An Ode to (the) Others’ for Spill International Festival of Performance
  • (2015) ‘Spill Stains: No where // Now Here (The Palimpsest of FK Alexander and Lydia Lunch)’ for Spill Festival of Performance
  • (2014) ‘Reflections: ON BOUNDARIES’ for Spill International Festival of Performance
  • (2014) ‘Reflections: ON RETREAT’ for Spill International Festival of Performance
  • (2009) ‘Home(less)’ [article] in SNAP! (Downtown Toronto Edition), CA. 


Expert Membership of professional bodies

 

 Theatre and Performance Research Association (TaPRA)


Other Interests

 

Hot Yoga

Spirituality

Ritual

Photography

Sustainable Fashion

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