Journal of Contemporary Archaeology, Vol 4, No 2 (2017)


Mike Pearson
Issued Date: 19 Feb 2018


Reflections on and approaches to interdisciplinary collaboration in archaeology, cultural geography and performance. With the outline of a potential methodology and proposals for practice that draw upon experiences of creative endeavours in the field and in which scholarly and artistic are combined; and with reference to a series of performative outcomes.

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DOI: 10.1558/jca.32247


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Pearson, M. 2000. “Bubbling Tom.” In Small Acts: Performance, the Millennium and the Marking of Time, edited by A. Heathfield, 172–185. London: Black Dog Publishing.

____. 2006. In Comes I: Performance, Memory and Landscape. Exeter: University of Exeter Press.

____. 2007. Carrlands. Availanle online:

____. 2010. Site-Specific Performance. Basingstoke, UK: Palgrave Macmillan.

____. 2012. “Warplands: Alkborough.” Performance Research, 17 (7): 87–95.

____. and H. Roms. 2014. “Performing Cardiff: Six Approaches to a City and its Performance Past.” In Performing Cities, edited by N. Whybrow, 120–138. Basingstoke, UK: Palgrave Macmillan.

Pearson, M. and M. Shanks. 2001. Theatre/Archaeology. London and New York: Routledge.

____. 2013. Pearson|Shanks 1993–2013. London: blurb.

____. 2014a. “Autosuggestion.” Performance Research 19 (3): 101–110.

____. 2014b. “Theatre/Archaeology – Return and Prospect.” In Art and Archaeology: Collaborations, Conversations, Criticisms, edited by I. A. Russell and A. Cochrane, 199–230. New York: Springer-Kluwer.

Shanks, M. 2012. The Archaeological Imagination. Walnut Creek, CA: Left Coast Press.

____. 2013. “‘Let Me Tell You about Hadrian’s Wall…’: Heritage, Performance, Design.” Amsterdam: Reinwardt Academy / Amsterdam School of the Arts.


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