Frank Camilleri Publications - Icarus Performance Project

Co-editing with John-David Dewsbury, ‘On Habit’ issue, Performance Research, 28:6 (2023)
Co-editing with Maria Kapsali, ‘On Hybridity’ issue, Performance Research, 25:4 (2020)
Co-editing with Paul Allain and Stacie Lee Bennett, Special Issue on ‘Digital Training’, Theatre, Dance and Performance Training, 10:2 (2019)
The Second Phase (Malta: Icarus Performance Project, 2004). ISBN 99932-0-308-8 (32 pages)
ICARUS 4 (Malta: Icarus GHE, 2003). ISBN 99932-0-244-4 (24 pages)

Étienne Decroux and his Theatre Laboratory by Marco de Marinis (Holstebro–Malta– Wrocław: Routledge Icarus), 2015. Includes 'Preface to the English Edition' by Frank Camilleri (4,250 words).

On Training: Traces of an Odin Teatret Actress by Roberta Carreri (London and New York: Routledge), 2014. ISBN 978-1-13-878000-2 (232 pages). Includes ‘On Time and In Visibility: Training in Context – Foreword by Frank Camilleri’ (3,250 words)
Stepping Stones by Ingemar Lindh (Holstebro–Malta–Wrocław: Routledge Icarus), 2010. ISBN 978-83-61835-44-8 (232 pages). Includes ‘Introduction to the English Edition’ (4,400 words) and ‘Glossary of Terms’ (5,200 words) by Frank Camilleri.

‘Seeing it Feelingly: On Affect and Bodyworld in Performance’, New Theatre Quarterly, 39:1 (2023), 69–80.
‘A Hybridity Continuum: The Case of the Performer’s Bodyworlds’, Performance Research, 25:4 (2020), 17–25.
'Of Assemblages, Affordances, and Actants – or The Performer as Bodyworld: The Case of Puppet and Material Performance', Studies in Theatre and Performance (online 2020), 42:2 (2022), 156–69 .
'From Bodymind to Bodyworld: The Case of Mask Work as a Training for the Senses', Theatre, Dance and Performance Training, 11:1 (2020), 25–39.
'Clues on Technē’', 'On Reflection: Turning 100' special issue, Performance Research, 23:4 (2018), 308–12.
'On Habit and Performer Training', Theatre, Dance and Performance Training, 9:1 (2018), 36–52.

'Of Hybrids and the Posthuman: Performer Training in the 21st Century', TDR: The Drama Review, 59:3 (T227) Fall 2015, 108–22.

'Toward the Study of Actor Training in an Age of Globalised Digital Technology', Theatre, Dance and Performance Training, 6:1 (2015), 16–29.

‘Making Visible the Invisible: Ingemar Lindh's Practice of Collective Improvisation and Étienne Decroux’, Contemporary Theatre Review, 23:3 (2013), 390–402.

'Yours Neutrally, Habitational Action: Performance between Theatre and Dance', New Theatre Quarterly, 29:3 (2013), 247–63.

'Habitational Action: Beyond Inner and Outer Action', Theatre, Dance and Performance Training, 4:1 (2013), 30–51.

'Between Laboratory and Institution: Practice as Research in No Man's Land', TDR: The Drama Review, 57:1 (T217) Spring 2013, 152–66.

‘Of Crossroads and Undercurrents: Ingemar Lindh's Practice of Collective Improvisation and Jerzy Grotowski’, New Theatre Quarterly, 27:4 (2011), 299–312.

‘Tekhnē Sessions: Investigating Dynamic Aliveness in the Actor’s Work’, Theatre, Dance and Performance Training, 1:2 (2010), 157–71.

‘Of Pounds of Flesh and Trojan Horses: Performer Training in the Twenty-first Century’, On Training special issue, Performance Research, 14:2 (2009), 26–34.

‘Tilting at Windmills: A Case Study Investigating Embodiment, Performativity, and Dramaturgy’ (Icarus Performance Project, 2009), http://www.icarusproject.info/tilting-at-windmills/ (5,722 words).

‘Collective Improvisation: The Practice and Vision of Ingemar Lindh’, TDR: The Drama Review, 52:4 (T200) Winter 2008, 82–97.

‘“To Push the Actor-Training to Its Extreme”: Training Process in Ingemar Lindh’s Practice of Collective Improvisation’, Contemporary Theatre Review, 18:4 (2008), 425–41.

‘Hospitality and the Ethics of Improvisation in the Work of Ingemar Lindh’, New Theatre Quarterly, 24:3 (2008), 246–59.

‘Exploring the Liminal: Engaging the Space between Training and Performance Process’, International Theatre Movement Conference: At the Moscow Art Theatre School, April 2007, ed. by Bruce Wooding (London: Central School of Speech and Drama, 2008), pp. 27–30.

‘I can still feel his eyes on me’, an interview by Elzbieta Stelmaszczyk, in Pogranicza (Polish journal) 1/2003 (42), pp. 29–43. A substantial part of this interview has also been included in a book by Juliusz Tyszka (Szczecin: Studio 69, 2002), pp. 80–88.

‘Gisem l’Isem: Il-Kitba tat-Teatru f’Malta’, in Il-Kitba Teatrali f’Malta: Hemm xi Krizi?, conference proceedings, eds. V. Cremona, M. Galea, I. Mifsud (Malta: Malta University Press, 1998), pp. 76–83.

Martyr Red (May/October/November 2013), Icarus Performance Project, Canterbury (UK) – Malta.

Duration 56 (May/June 2008), Icarus Performance Project, Malta.
RISK: El Riesgo de La Reina (July/August 2007), Icarus Performance Project, Malta.
La Reina: A Vocal Structure (August 2006), Icarus Performance Project, Malta.

Lamentations of Cain (August 2005), Icarus Project Third Phase presentation, Malta.
Amargo TWO (Oct 2004), Icarus Project Second Phase presentation: trio fused with a chorus, Malta.
TWO.2 (August 2004), Icarus Project Second Phase presentation: duo fused with a solo, Malta.
TWO (April 2004), Icarus Project Second Phase presentation: two solos fused as a duo, Malta.
ICARUS 4 (2003), Icarus Project First Phase presentation: four solos, Malta.
Amargo: The Tragedy of the Man Doomed to Die (2002–03), solo performance, Malta.

Tekhnē Sessions has been presented in various contexts, either as a full or as a conference presentation, including Malta (2003, 2004), Adam Mickiewicz University (Poland, 2004), University of Exeter (UK, 2006), Moscow Art Theatre School (Russia, 2007), University of Evora (Portugal, 2007), and University of Plymouth (UK, 2009).

Id-Descartes, solo performance co-created with John J. Schranz: Malta (1996, 1997, 2001), Sassari (Sardinia, 1996, 2000), Urbino (Italy, 1997, 2002), Biella (Italy, 1997), Rome (1998), Tartu (Estonia, 1999), Edinburgh (1999), Thessaloniki (2001), Poznan (Poland, 2002), Ragusa (Sicily, 2003).

La Pietra e il Dolore, directed by Lech Raczak, Urbino (Italy), 1996.
Inkontri Possibbli, directed by John J. Schranz, Malta (1995, 1996), Rome (1995), Pontedera (1996).
La Vita di S. Giovanni, directed by Lech Raczak, Urbino (Italy), 1994.
Berlin! Berlin!, directed by John J. Schranz, Malta, 1992.

PATAZ: Physical Actor Training – An Online A-Z [a major innovative series of over 60 dynamic videos with audio commentary and animation], with Paul Allain, Stacie Lee Bennett, and Peter Hulton (Bloomsbury Drama Online, 2018).
D56, DVD (Canterbury: Icarus Performance Project and Foreign Body Films, 2009).
Lamentations of Cain, DVD (Malta: Icarus Performance Project, 2007).
‘Structure/Improvisation: Investigating the Performative Condition’, in The Changing Body Symposium, DVD-ROM (Exeter Digital Archives: Arts Documentation Unit, University of Exeter, 2006).
Tekhnē Sessions 2004, DVD (Malta: Icarus Performance Project, 2005).