Citation: I. Bramley et M. Baldwin, The importance of being Mark (Choreographer Mark Baldwin talks about his latest dance piece The 'Bird Sings with its Fingers'), DANCE THEAT, 17(1), 2001, pp. 30-32
Citation: I. Bramley, The broader issue (Dance can assert a strong presence within the many collaborative and interactive environments that it finds thrust upon it or thatit chooses to inhabit), DANCE THEAT, 16(4), 2001, pp. 2-2
Citation: I. Bramley, High art? No thank you. (Stephen Daldry's 'Billy Elliot' and Matthew Bourne's The 'Car Man', how dance interfaces with a popular audience), DANCE THEAT, 16(4), 2001, pp. 44-47
Citation: I. Bramley, An uncertain future for the past (The current situation at the Martha-Graham-Center-of-Contemporary-Dance underlines the uncertain conditions under which dance's heritage is maintained), DANCE THEAT, 16(2), 2000, pp. 2-2
Citation: I. Bramley et C. Linehan, Textured rhythm (An interview with London-based choreographer Charles Linehan), DANCE THEAT, 15(2), 1999, pp. 16-19
Citation: I. Bramley, Return of the narrative (The success and popularity of the choreographies of Matthew Bourne and Mark Murphy are due to their use of narrative taught by their experience of film and TV), DANCE THEAT, 14(4), 1999, pp. 26-29