Rachel has published chapters and peer-reviewed articles on subjects such as costume politics and the performativity of architecture. She is currently writing her first monograph 'Beyond Scenography'(Routledge, 2017) which provides the first theory of scenography in response to the expanded practices of contemporary theatre and performance.
Research Network
Critical Costume is a research project on the status of costume practices within contemporary art and performance. Building upon an emerging interest in the dramaturgical significance of costume within the academy, the project's overall aim is to grow the intellectual and critical frameworks in which we discuss costume practices, both today and historically.
Selected Presentations
Selected conference and seminar presentations: including material on second wave practice research, what is critical about costume, scenograpic rhetoric, costume affects, and performance archiitecture.
Beyond Scenography: Cultures of Performance Design. This monograph project examines the Anglophone appropriation of the term 'scenography' and argues the critical distinctiveness of a 'scenographic' perpective.
In 2016-2017 Rachel is the module convenor for the following modules: PRO1018 Introduction to Digital Scenography (Level 4, 15 Credits) PRO1020 Scenography: Design (Level 4, 15 Credits) PRO1021 Scenography: Realisation (Level 4, 15 Credits)
PhD Supervison
I currently supervise two PhD candidiates in Dance and Creative Writing. Michelle Man's project 'Light-scapes: Light and the dancing body' investigates how bodies are
Dr. Rachel Hann is a cultural scenographer. With degrees from the University of Leeds (PhD) and the University of Hull (BA, Drama), she teaches across the fields of drama, dance, and performance design.
Research Collaboration
The Food Project is composed of an international group of artists (actors, directors, scenographers, architects and academics) working to investigate how women perform questions of identity and social politics through the practices of food preparation, eating, and cleaning.
Academic Roles
Theatre and Performance Research Association. Executive Officer without Portfolio (2013-) and a former co-convenor of the Scenography working group (2010-2013).
Conference Paper
My attendance at the Goldsmiths The Future of Practice Research event confirmed two things. Firstly, that I was not alone in wanting to move on from the defensive positions cultivated over the last 20 years. The proposal to focus on the future chimed with my own belief that the argument that 'practice matters' had been won (at least administratively).
Journal Article
Blurred Architecture. Architects Elizabeth Diller and Ricardo Scofidio have questioned conventional approaches to spatial temporality and the situation of architecture since the late 1970s. Now joined by Charles Renfro
Journal Article
Dwelling in Light and Sound. To interrogate the potential role of architecture within intermedial digital opera, this article returns to a model of performance architecture as conceived by Swiss scenographer Adolphe Appia (1842-1928)
Double Issue Editorship
Editorship of Scene (Intellect). Published in 2014, this double issue of the new peer-reviewed journal 'Scene' on the subject matter of Critical Costume was co-edited by Rachel and Sidsel Bech. The double issue included material from a range of
PhD Research Project
Utopian Theatres. This research project examines the dramaturgical implications of three historically significant unrealized theatres. The objective was to form new insights on these seldom examined theatres through the process of computer-based 3D visualization.
Conference Presentation
Costume Affects: a theory of hugging. Scenographers and performers alike have long recognized the dramaturgical significance of costume and its influence upon the conception and reception of action. However, to date there remains little critical mass with which to define or describe the reciprocal interaction between fabric and body, movement and form.
Conference Presentation
Scenography is in crisis. The boundaries of what is, and is not, scenography have become increasingly elusive in the early twenty-first century.