My central research interest for the past fifteen years has been the application of digital technology to teaching and research in the field of dramatic performance history. I have created a number of groundbreaking projects in this area working with Cambridge University Press, the Performing Arts Data Service, the English Subject Centre, the British Library and the Royal Shakespeare Company. My interests focus on the way in which contemporary performance history can be both documented and studied in new ways using digital technology. I am also very interested in incorporating creative practitioners both in the documentation and the teaching processes. Moving into the English Department from the Drama Department at Royal Holloway has provided me with an opportunity to work with students and colleagues who approach Shakespearean dramatic texts in a very different way. I have been able to influence the curriculum both at the undergraduate and the post graduate level. Working with the English Subject Centre has strengthened my interest in and knowledge of the Centres of Excellence in Teaching and Learning nationally that are working to develop practical strategies for students to learn through participation in creative projects that integrate professional practices. I have created teaching resources both with the English Subject Centre and the English Department at Royal Holloway which are considered both innovative and influential.
Designing Shakespeare: an Audio Visual Archive, 1960-2000 (Glasgow: Performing Arts Data Service, 2003 now based at Royal Holloway)
http://www.ahds.rhul.ac.uk/ahdscollections/ This Archive includes records about 1097 productions, 3500 image of the plays in performance, 10 3D models of theatres and audio and video interviews with 8 key theatre designers. This project will be the first research resource in the College to be transferred into the digital repository.
‘Enriching Shakespeare Studies through Digital Technology’, Royal Shakespeare Company, March 2006. This Guide to Internet resources which has recently been taken off the RSC site gave a context for the Company’s own work online.
‘Linking Teaching and Research Through Technology’ Literature Compass 2 (2005) RE 157, 1-11. http://www.literature-compass.com/viewpoint.asp?section=6&ref=491 (available through subscription only). This article points out how online access to primary resources allows for the development of researchers in the undergraduate classroom.
‘The Quarto of King Lear – representing the early stage history of the play?’ British Library Treasures in Full, Shakespeare in Quarto site, September 2004
http://www.bl.uk/treasures/shakespeare/lear.html This article forms one of three ‘Expert Views’ that give users an idea of what they might look for in this online resource.
The King Lear CD-ROM: Text and Performance Archive, Christie Carson and Jacky Bratton, eds. Cambridge: CambridgeUniversity Press, 2000
This CD-ROM contains ten texts of the plays as they have been performed across four centuries. It also holds 500 images of performance internationally, critical material about the play, reviews and contextual information. This edition was the first to create a colour-coded conflated text that highlights the variations in the Quarto and Folio printings.
‘Shakespeare Online: an increasingly interesting conversation’ Shakespeare on Film, Television and Radio, (London: British University Film and Video Council, 2009) pp. 94-112.
‘Technology as a Bridge to Audience Participation?’ in Performance and Technology: Practices of Virtual Embodiment and Interactivity Susan Broadhurst and Josephine Machon, eds. (Basingstoke: Palgrave Macmillan, 2006), pp. 181-193.
‘Turning Conventional Theatre Inside Out: Democratising the Audience Relationship’ in New visions in performance: the impact of digital technologies. Gavin Carver and Beardon, (Lisse, The Netherlands: Colin Swets & Zeitlinger, 2004), pp. 153-66.
‘Creating a multipurpose research tool for the study of King Lear’ in Creating Digital Performance Resources: A Guide to Good Practice Barry Smith Ed., (Oxford: Oxbow Books, 2002) pp. 17-32.
‘eShakespeare and Performance’, special issue ‘Reinventing Digital Shakespeare’ Shakespeare 4/3 (2008), pp. 270-286.
‘The Evolution of Online Editing: where will it end?’ Shakespeare Survey 59, 2006 pp. 168-181.
‘Digitising Performance History: Where do we go from here?’ Performance Research 10.3 On Shakespeare, Peter Holland and William Sherman eds., December 2005, pp. 4-17.
‘A report on Virtual Reality (VR) in theatre history research: Creating a spatial context for performance.’ Early Modern Literary Studies Special Issue 13 (April, 2004): 2.1-12 http://extra.shu.ac.uk/emls/si-13/carson/index.htm
‘Digital Resources for Teaching and Learning’ English Subject Centre Newsletter, Issue 6, February 2004, pp. 14-19. http://www.english.heacademy.ac.uk/explore/publications/newsletters/newsissue6/carson.htm
‘Digital Resources: Do they Entrench or Enliven the Canon?’ Convergence: the Journal of Research into New Media Technologies, Vol. 5, No. 1 Spring 1999.
‘Theatre and Technology: Battling with the Box’ Digital Creativity, Vol. 10, No. 3, 1999 pp. 129-134
‘Creating a Context: the Case of King Lear’ Theatre Journal, 51 Autumn, 1999, pp. 433-441.
‘Drama and Theatre Studies in the Multimedia Age: “Reviewing the Situation”’ Literary and Linguistic Computing, Vol. 12, No. 4 1997, pp. 269-275