Staff research & scholarly output
Enhancing student learning in Lea, J. (ed.) Enhancing learning and teaching in higher education: engaging with the dimensions of practice. Open University, 2016.
Epistemology and theatrical performance: a conceptualization of the epistemic theatrical event as generative. In D. Watt and E. Katsouraki (eds). Thinking theatre, performing philosophy. Cambridge: Cambridge University Press, 2013.
Practical drama: the secrets of theatre arts revealed. 2nd ed. Studymates, 1999.
The theatre makers: how seven great artists shaped the modern theatre: seven extraordinary people profiled. Studymates, 2008.
Art, theatre and women's suffrage. Twickenham: Aurora Metro Press, 2010.
Votes for women, and other plays. Twickenham: Aurora Metro Press, 2009.
Introduction to Out! On the Costa del Trica by Women's Theatre Group in Nicholls, Doug. Worker's play time, vol.1: seven scripts from seven struggles. New Internationalist Books, 2017.
Challenges in assessing simulated professional practice in the performing arts in Bryan, Cordelia and Karen Clegg. Innovative assessment in higher education: a handbook for academic practitioners. London: Taylor & Francis, 2018.
Teatr Piesn Kozla training and its influence on UK actor training. Theatre Dance and Performance Training 2.2 (2011): 243-259
Coming to our senses (with music by Paul Englishby). Sidcup: Rose Bruford College, 2003.
Deadstock. Charlton: 2004.
Lina Cavalieri: the life of opera's greatest beauty, 1874-1944. London: McFarland & Company, 2004.
The opera singer and the silent film. London: McFarland & Company, 2005.
Women in the arts in the belle epoque: essays on influential artists, writers and performers. London: McFarland & Company, 2012.
Actor-musicianship. London: Methuen Drama, 2016.
Making Musgrave dance: actor-musicianship in process, in Schopf, Jane. Music on stage, vol.1. Cambridge: Cambridge Scholars, 2015.
Debatable lands: on borderlands, historical narratives and performance storytelling. Journal of Borderlands Studies, 2013: forthcoming.
An Introduction to the tragic body. APGRD Website, 2012.
Physical performance and the languages of translation. In E. Hall and S. Harrop (eds). Theorising performance: Greek drama, cultural history and critical practice. London: Duckworth, 2010: pp. 232-240.
Poetic translation and corporeality. [co-authored with David Wiles]. New Theatre Quarterly 24.1, 2008: pp.51-64.
Theorising performance: Greek drama, cultural history and critical practice. [co-edited with Edith Hall]. London: Duckworth, 2010.
Exosomatic (light) organ: creating and using an ‘expressive instrument’ for theatre lighting control. International Journal of Performance Arts and Digital Media, 9.2 (2013): forthcoming.
Lighting on the hyperbolic plane: Towards a new approach to controlling light on the theatre stage. International Journal of Performance Arts and Digital Media, 7.2 (October 2011): 205-220.
Available via: http://dx.doi.org/10.1386/padm.7.2.205_1
Opera, art and industrial production. In P. Fryer (ed). Essays on Opera and the Media. McFarland and Co., 2014
The parts and the whole: performance and scenographic ecosystems, Performance Research, 18.2 ‘On Scenography’, 2013
Repositioning the role of the lighting artist in live theatre performance. Thesis submitted to Middlesex University, 2011.
The virtuosity of the lighting artist: designer or performer? In S. Palmer (ed). Light - A Reader in Theatre Practice. Basingstoke: Palgrave Macmillan, 2013: 232-240.
Chapter 5, in Unwin, Stephen. The complete Brecht toolkit. Nick Hern Books, 2014.
Brian Friel (Faber Critical Guides). London: Faber & Faber, 2000.
File on Mamet [with Steve Dykes]. London: Methuen, 1991.
File on O'Casey. London: Methuen, 1986.
File on Synge. London: Methuen, 1994
Elgar, Delius and Russell, in Fryer, Paul. Composers on screen. Jefferson NC: McFarland Inc., 2018.
The intercultural performance handbook. London: Routledge, 2004.
The theatre for development handbook. London: Pan Cultural Arts, 2010.
Fighting the peace: violence, counter-narrative and the work of Gary Mitchell. In L. FitzPatrick (ed). Performing violence in contemporary Ireland. Dublin: Carysfort Press, 2010.
Understanding loyalty: the English response to the work of Gary Mitchell. In R. Cave & B. Levitas (eds). Irish theatre in England. Dublin: Carysfort Press, 2007.
In-yer-face theatre: British drama today. London: Faber & Faber, 2001.
Modern British playwriting: the 1990s - voices, documents, new interpretations. London: Methuen Drama, 2012.
Rewriting the nation: British theatre today. London: Methuen Drama, 2011.
The time traveller's guide to British theatre: the first four hundred years. London: Oberon Books, 2015.
Serving different constituencies: international students. In P. Dale, M. Holland & M. Matthews (eds). Subject librarians: engaging with the learning and teaching environment. Aldershot: Ashgate, 2006: 149-174.
Online support offered to international students by UK university libraries - what are we doing and why are we doing it? In P. Dale, J. Beard & M. Holland (eds). University libraries and digital learning environments. Aldershot: Ashgate, 2011: 183-199.
Becoming an actor. London: Nick Hern Books, 2012.
Brayford Pool: Lincoln's waterfront through time. The Survey of Lincoln, 2012.
Encountering 'rus in urbe' in the twentieth century county town: Lincoln's fairs and its agricultural show. The International Journal of Regional and Local Studies, 6.2 (Autumn 2010): 72-97.
Lincoln connections: aspects of city and county since 1700. The Society for Lincolnshire History and Archaeology, 2011.
South-east Lincoln: Canwick Road, South Common, St Catherine's and Bracebridge. The Survey of Lincoln, 2011.
Uphill Lincoln II: the north-eastern suburbs. The Survey of Lincoln, 2010.
Mappa mundi. London: Border Crossings, 2003.
[Conceived and directed by Michael Walling]
Orientations. London: Border Crossings, 2004.
[Conceived and directed by Michael Walling]
Toufann: a Mauritian fantasy. London: Border Crossings, 2003.
[by Dev Virahsawmy, in a new English version by Michael Walling]
Theatre and slavery: ghosts at the crossroads. Enfield: Border Crossings, 2007.
Juggling trajectories: Gandini juggling 1991-2015. London: Gandini Press, 2016
Neutral gear ... Thomas Wilson attended a spring residency with Thomas Prattki, the pedagogical director of Ecole Jacques Lecoq, and here shareshis thoughts and responses to the week. Total Theatre Magazine, 14.3 (Autumn 2002): 19-20.
Poetry and motion: from Beckett to Kane, Tom Wilson looks at the intrinsic ohysicality of text. Total Theatre Magazine, 16.3-4 (Autumn 2004): 14-15.
The lure of the horse: why do girls - and boys, and theatre-makers - like horses? Total Theatre Magazine, 21.3 (Autumn 2009): 14-15
Remixing theatre: Never go back? Tom Wilson reflects on revivals that go beyond mere restaging. Total Theatre Magazine, 22.4 (Winter 2010): 12-14.
When the circus comes to town: Tom Wilson goes to the London International Mime Festival and reflects on three very different circus-theatre shows. Total Theatre Magazine, 23.1 (Spring 2011): 24-25.
The works: a personal view of the works of Gandini Juggling. Total Theatre Magazine, 23.4 (Winter 2011/12): 19-21.
On Landguard Point: Thomas Wilson discusses the Pacitti Company's project for the commission awarded for Artists Taking the Lead: East of England. Total Theatre Magazine, 24.1 (Spring 2012): 7-10.