Please find all video evidence of collaboration here: https://drive.google.com/drive/folders/17O5Kd-qoK_UgWFyFMbqoFu0qbgN7CCUo?usp=sharing
ICP Portfolio Bibliography:
Barba, E. (2009) On Directing and Dramaturgy: Burning the House. London: Routledge.
Boal, A. (1993) Theatre of the Oppressed. Translated by C.A. McBride. New York: Theatre Communications Group.
Bowers & Wilkins. (2025) Punchdrunk and Bowers & Wilkins combine to deliver more intimate theatre. 22 January. Available at: https://www.bowerswilkins.com/en-gb/blog/sound-lab/punchdrunk-intimate-theatre.html (Accessed: 8 December 2025)
Bogart, A. & Landau, T., 2014. The Viewpoints Book: A Practical Guide to Viewpoints and Composition. London: Routledge.
Butterworth, J., 2004. Teaching choreography in higher education: a process continuum model. Research in Dance Education, 5(1), pp. 45-67.
Butterworth, J. & Wildschut, L., [year]. Too many cooks? A framework for dance making and devising. In: J. Butterworth & L. Wildschut, eds. Contemporary Choreography: A Critical Reader. [eBook] EBSCO Publishing. Available through: De Montfort University EBSCOhost [Accessed 29 December 2025].
Candy, L. 2006, The Creative Reflective Practitioner: Research Through Making and Practice Account, EBSCO Publishing: eBook Collection (EBSCOhost), viewed 2 September 2025.
Candy, L. (2011) Reflective Practice: Art, Design and Engineering. Bristol: Intellect, p.114.
“Collaboration is a key feature of Shona Illingworth’s creative practice.47 Those with
whom she collaborates have, in the main, two kinds of roles in her creative process:
the first is that of the ‘participant’ who is often the inspiration for the art; the second
is that of a ‘specialist’ whose expert knowledge informs the artist’s understanding of
her chief preoccupations.”
Crompton, S. (2024) ‘Meet Indhu Rubasingham, Now The Most Powerful Woman In British Theatre’, Vogue, 20 November. Available at: https://www.vogue.co.uk/article/indhu-rubasingham-national-theatre-interview (Accessed: 8 December 2025).
Emblair (2025) ‘Art that lasts: The Blue Man Group’, Emblair, [online] Day Month. Available at: https://emblair.substack.com/p/art-that-lasts-the-blue-man-group (Accessed: 8 December 2025).
Lerman, L. & Borstel, J., 2022. Critique Is Creative: The Critical Response Process® in Theory and Action. Middletown, CT: Wesleyan University Press.
Mitchell, K. (2009) The Director’s Craft: A Handbook for the Theatre. Foreword by N. Hytner. London: Routledge.
Overlie, M., 2016. Standing in Space: The Six Viewpoints Theory & Practice. Movement Publishing.
Punchdrunk. (n.d.) Louis Vuitton. Available at: https://www.punchdrunk.com/work/louis-vuitton/ (Accessed: 8 December 2025)
Punchdrunk. (n.d.) Collaborate with Punchdrunk: Unlocking Creative Partnerships. Availale at: https://www.punchdrunk.com/partnerships/ (Accessed: 8 December 2025)
Robinson, D. 2015, ‘Organisation Structures’, in A Practical Guide to Ensemble Devising, Methuen Drama, pp. 95-106.
Squidsoup and Østerlund, R. (2019) Submergence, Winter Lights 2019, Canary Wharf, London. Photograph by Nunzio Prenna.
