Part monologue, part confessional, part crèche: Clarke invites the audience to consider the rights of the very young and the acceptable (or not) faces of motherhood. Includes performance text and DVD.

Part of Live Art and Motherhood: A Study Room Guide on Live Art and the Maternal (P3025).

Witnessed by unwitting suburbanites, and documented on a phone camera, Maternity Leaves documents a series of short performative walks within a mile radius of the artist's home, exploring the time and space of motherhood.

Part of Live Art and Motherhood: A Study Room Guide on Live Art and the Maternal (P3025).

An exploration of the artist's experience of giving birth under general anaesthetic.

AV documentation (no sound); 6 hours.

Part of Live Art and Motherhood: A Study Room Guide on Live Art and the Maternal (P3025).

Documentation from the project by Zoë Gingell and Eve Dent; includes exhibition programme, blog posts, and The Guardian review.

Part of Live Art and Motherhood: A Study Room Guide on Live Art and the Maternal (P3025).

Stills from the performance, which comprised of over 300 images and took place in 2 parts; part one is performed in a photography studio, with the photographer the only spectator.

Part of Live Art and Motherhood: A Study Room Guide on Live Art and the Maternal (P3025).

An in-depth research on the theme of borders and motherhood.

Part of Live Art and Motherhood: A Study Room Guide on Live Art and the Maternal (P3025).

One woman show narrating and constructing a self or a body.

2008

A duet collaboration between two choreographers (one disabled, one non-disabled) working together on dance performances that touch the borders of mainstream assumptions about implicit and explicit images of ‘the contemporary dancer’ and the different potentials for our bodies to be seen as knowing, skilful and passionate.

Work in progress (2007).

Includes a research document and a short WIP edit.

Examines laughter among actors, among audience, and the interaction between the two. Exploring the many uses and effects of laughter in theatre, Weitz considers laughter as a tool of political resonance, as social commentary, and as one of the oldest rhetorical devices.

All performance depends upon our abilities to create, perceive, remember, imagine and empathize. This book provides an introduction to the evolutionary and cognitive foundations of theatrical performing and spectating and argues that this scientific perspective challenges some of the major assumptions about what takes place in the theatre.