Many of these focused on >>Esgair Fraith, a ruin of a farm in the uplands of west Wales. The question – how to represent place. This grew into a project of deep mapping. This in the context of a range of >>historiographical questions that interest us.

Here is one definition of the deep map.
‘Reflecting eighteenth century antiquarian approaches to place, which included history, folklore, natural history and hearsay, the deep map attempts to record and represent the grain and patina of place through juxtapositions and interpenetrations of the historical and the contemporary, the political and the poetic, the discursive and the sensual; the conflation of oral testimony, anthology, memoir, biography, natural history and everything you might ever want to say about a place …’ (from >> Theatre/Archaeology)

Deep mapping is a major focus of the >>Three Landscapes Project.

With theatre/archaeology as the '(re)articulation of fragments of the past as real time event', we were very interested in the >>performed lecture as a medium.

For my reworking of the story of Sarah Jacob, see >>three rooms.

publication

Performing a visit: archaeologies of the contemporary past
with Mike Pearson
Performance Research 2: 42-60 (1996)

Theatre/Archaeology
with Mike Pearson
Routledge, 2001

see also conferences organized by the Centre for Performance Research, University of Wales Aberystwyth
Performance, Tourism, Identity: September 1996
>>Performance Places and Pasts: September 1998