Dr Andrew Filmer BA Hons Class 1 (Sydney); PhD (Sydney); PGCTHE (Cymru); FHEA

Dr Andrew Filmer

Senior Lecturer

Contact Details


I joined the department in February 2008 having previously taught at the University of Sydney, the University of New South Wales and the University of Western Sydney. I gained my PhD from the Department of Theatre and Performance Studies at the University of Sydney in 2006.

Additional Information

Co-convenor (with Dr Juliet Rufford) of the F?d?ration Internationale pour la Recherche de Th?âtre / International Federation of Theatre Research (FIRT / IFTR) Theatre Architecture Working Group (2012 to the present).

The purpose of the Theatre Architecture Working Group is to explore all that theatre architecture has been historically, is at present, and might be in the future. We consider built projects alongside unbuilt or speculative architectures, studying these from a wide range of practical and theoretical perspectives. We continue to investigate the ways in which space can be manipulated to bring performers and spectators into dynamic relationship inside traditional theatre auditoria, while also asking how else the disciplines of theatre and architecture inter-sect. We seek to develop theoretical paradigms appropriate to theatre and architecture and to the relationship between them - articulating the many contemporary sites of exchange between these fields and re-examininghistorical encounters in the light of recent developments in spatial theory, architecture theory and practice, and performance studies. Further information on the working group is available from our blog site:

With Dr Juliet Rufford I have organised the Working Group meetings at the Barcelona (2013), Warwick (2014) and Hyderabad (2015) IFTR conferences. In addition we curated the Shared Practice and Shared Pedagogies events at The 2015 Prague Quadrennial of Performance Design and Space.

Member of the Running Cultures Research Network



My current research interests focus on two distinct projects: one exploring the multiple sites of encounter between theatre, performance and architecture and the other examining artistic engagements with contemporary running cultures. The first explores the relationships that exist between theatre, performance and architecture within an 'expanded field' of spatial and artistic practice, focussing on contemporary theatre projects and interdisciplinary practices and pedagogies. In the second I am interested in how contemporary artists are using running as a mode of aesthetic enquiry and expression to explore ideas of subjectivity, agency, collectivity and mobility, on how running functions as contemporary performance and social action, and what theatre and performance studies might gain by engaging with the aesthetics of sporting activity.

More broadly my research interests include issues of space, place, location and spectatorship in contemporary theatre and performance, especially the dramaturgical logics and spectatorial practices inherent in site-specific and located performance. Previously my research has focussed on theatre architecture, examining performers' experiences and practices in the backstage spaces of theatre buildings.

Research Supervision

  • Kieran Holland, 'Running and Performance: An embodied and performative examination of recreational distance running', PhD: in progress
  • Wei-Juei Hsieh, 'Bajiajiang as Religious Theatre: Belief, People and Transformation of a Ritual Practice', MPhil: successfully completed 2017
  • Dr Mike Brookes, 'On a clear day you can see for ever …: Mediation as form and dramaturgy in located performance' PhD by published works: successfully completed 2015
  • Polly Walker-Penn, 'Seeing Red: Re-imagining Conservation in Times of Ecological Crisis', KESS funded MPhil: successfully completed 2014

Office Hours (Student contact times)

  • Monday 14.00-17.00



Filmer, A. 2017. Coriolan/us and the Limits of 'Immersive'. In J. Frieze. (ed) Reframing Immersive Theatre: The Politics and Pragmatics of Participatory. Springer Nature pp. 289 -302. pp. 289 -302.


Filmer, A. 2017. Coriolan/us and the Limits of 'Immersive'. In J. Frieze. (ed) Reframing Immersive Theatre: The Politics and Pragmatics of Participatory. Springer Nature pp. 289 -302. pp. 289 -302.

Filmer, A. 2016. Dramaturgy and Architecture: Theatre, Utopia, and the Built Environment. Studies in Theatre and Performance 36 (2) pp. 196-198. pp. 196-198.

Filmer, A. 2016 (In press). Watching, waiting, listening: Audio Obscura and the perceptual ecology of non-place. About Performance (14/15)


Filmer, A., Ames, M. 2015. Mindful Bodies: Theory and Practice in Undergraduate Theatre Studies.

Filmer, A. 2015. Framing Encounters: Users, Occupants, Spectators, Participants.

Filmer, A. 2015. Architecting the Theatre Machine.

Filmer, A. 2015. Motion Capture. Other

Filmer, A. 2015. Performing Site-Specific Theatre: Politics, Place, Practice, edited by Anna Birch and Joanne Tompkins (Basingstoke: Palgrave Macmillan, 2012).


Filmer, A. 2014. On the Move: Action, Location, Relation.

Filmer, A. 2014. Audio Obscura: Experiencing the Architecture of Audio Performance.


Filmer, A. 2013. Disrupting the 'Silent Complicity' of Parliamentary Architecture. Performance Research 18 (3) pp. 19-26. pp. 19-26.

Filmer, A. 2013. Materiality and Reverberation: Sensory immersion in Coriolan/us.

Filmer, A. 2013. On the Move: The Performance of Running.


Filmer, A., Heckenberg, M., Tompkins, J. 2012. Design, Space and Performance in Australia and New Zealand. Australasian Drama Studies 61

Filmer, A. 2012. Re-imagining Suburbia with My Darling Patricia. Australasian Drama Studies 61 pp. 30-47. pp. 30-47.

Filmer, A. 2012. Purposeful assemblage: Practicing location in National Theatre Wales.

Filmer, A. 2012. Watching, Waiting, Listening: A Perceptual Ecology of Non-place.


Filmer, A., Rossmanith, K. 2011. Space and Actor Formation. Theatre Research International 36 (3) pp. 228-239. pp. 228-239.

Filmer, A. 2011. Articulating the theatricality of architecture: The Persians at FIBUA.


Filmer, A. 2010. Making Space for Performance. Studies in Theatre and Performance 30 (3) pp. 275-287. pp. 275-287.

Filmer, A. 2010. Place, History, Authenticity.

Hadley, B., Rajak, J., Filmer, A., Caines, R., Read, A. 2010. The 'dirty work' of the Lie. Performance Research 15 (2) pp. 123-129. pp. 123-129.

Filmer, A. 2010. Place, History, Authenticity.


Filmer, A. 2009. Duplicitous Sites: Misperforming Parliament.

Filmer, A. 2009. Terrains of Power: Performing Parliamentary Architecture.

Filmer, A. 2009. Architecture, Audience and Desire.


Filmer, A.R. 2008. The place of theatre practice: training and aesthetic tradition at Belvoir Street. Australasian Drama Studies 53 pp. 111-127. pp. 111-127.

Filmer, A.R. 2008. Minding the Gap: The Performer in the Wings. New Theatre Quarterly 24 (2) pp. 158-169. pp. 158-169.


Filmer, A. 2007. New Theatre Writing: Where Does The Money Go? A Statistical Review. Playwriting Australia

Filmer, A. 2007. Review of ‘Ethno-techno: Writing on Performance, Activism, and Pedagogy’ by Guillermo Gómez-Peña. Australasian Drama Studies 50

Filmer, A. 2007. Gay McAuley: A leading figure in Australian Performance Studies.

Filmer, A. 2007. ‘Implacing’ Theatre Practice: A Theoretical Framework.


Filmer, A. 2006. Sydney Style: The Performative Implications of ‘Found’ Theatre Space’.

Filmer, A. 2006. A Topography of Sydney Practitioner Space.

Filmer, A. 2006. The Sydney Opera House: Design, History and Theatrical Haunting. In I. Eynat-Confino., E. Sormova. (eds) Patronage, Spectacle and the Stage. Art and Theatre Institute, Prague pp. 132-141. pp. 132-141.


Filmer, A. 2005. Within and Without: Containing the Heart of PQ.


Filmer, A. 2004. Somewhere Between the Dressing Room and The Stage: Wrestling with the Wings.


Filmer, A. 2003. The Sydney Opera House: Design, History and Theatrical Inhabitation.