Collins, Rebecca. 2022. ‘Experiments in Aural Attention: Lingering Longer & Listening Away’, Journal of Artistic Research (forthcoming) 

Collins, Rebecca. 2022. ‘Creative Arts Practices and Future Environmental Values’ in The Regional Assessment report on biodiversity and ecosystems in Europe and Asia. IBPES. (July 2022, forthcoming) 

“The reappraisal of the ‘apparently inconsequential’ also features in Rebecca Collins’ article ‘Aural Attunement’ in which she focuses on productive failures of language to capture or represent the complex vitality of non-human (in this case avian) life.”

Chloé Déchery et Martin Welton 2021

Collins Rebecca. 2021. ‘Commission for a Noir Movie B in the Bay of Biscay’ in Bricks From the Kiln #4 eds. Natalie Ferris, Bryony Quinn, Matthew Stuart and Andrew Walsh-Lister ISBN 978‐0‐9956835‐2‐5  

Collins Rebecca. 2021. ‘Aural Attunement is a form of performative writing used to write about nonhuman affective relations in Emma Bennett’s Slide Show Bird Show (2013)’ Ambiances Journal of Sensory Environment, Architecture and Urban Space   

“Rebecca Collins turns to sound as an essential dramaturgical tool. Addressing an approach to listening and aural attention that is embodied and phenomenological, she argues that structures of increased attention enable us to tune into aural spatiality.”

(2018) Editorial, Contemporary Theatre Review, 28:2, 163-164, DOI:10.1080/10486801.2018.1454157

Collins, Rebecca. 2021. ‘Theory for Theatre Studies: Sound’ in Journal of Dramatic Theory and Criticism. Book Review

Collins Rebecca and Johanna Linsley. 2019. ‘Stolen Voices is a slowly unfolding eavesdrop on the coast of the UK’ in Arts ‘Layered Landscapes: Cultural Investigations in Northern British Edgelands’’ 8, 140  

Collins Rebecca and Johanna Linsley. 2018. ‘Just In Time: The Felixstowe Affair’ in On Time: A Spill Reader ed. Diana Damian Martin ISBN 978-0-9565447-2-8 

“Stolen Voices offers knowledge on the edges of understanding, which troubles a solid identification of place. Instead, it offers pulses of intertwined imaginaries and experiences: registering these coastal places as connected but also singular and temporarily fixing the contingent elements that make “here” here.”

Holt, Y.; Ashmore, R. Introduction: Layered Landscapes. Arts 20209, 31. https://doi.org/10.3390/arts9010031

Collins Rebecca. 2018. ‘Aural Spatiality and Sonic Materiality: Attending to the Space of Sound in Performances by Ivo Dimchev and Alma Soderberg’ in Contemporary Theatre Review 28:2, 165-178   

Collins Rebecca. 2017. ‘Sound, space and bodies: building relations in the work of Invisible Flock and Atelier Bildraum’ in A Journal of Media Culture 20:2  

“In noting how the babble of a crowd can indicate the presence of others constructing ephemeral emergent communities where the voice of an individual is often lost, Rebecca Collins, identifies how sound informs our experience of space. In this article, she discusses the potential of sound to construct fictional spaces, build individual identities and evoke the presence of a crowd in relation to two artistic installations.”

Franks, R., & Dwyer, S. (2017). Build. M/C Journal20(2). https://doi.org/10.5204/mcj.1236

Collins, Rebecca. 2016. ‘Anna Braithwaite and Everyday Opera’, British Music Collection 

Collins, Rebecca. 2014.  Making Marks: The Paper Club in Planet: The Welsh Internationalist, 214  

Collins, Rebecca. 2013. ‘Dear Institution’ in CARPA 3: The Impact of Performance as Research, University of the Arts, Helsinki ed. Annette Arlander ISBN 2341-9679 

Collins Rebecca. 2012. ‘On Being Audience: Modalities of Theatrical Speech and Listening’ in Activate Vol. 2, No. 1 

Research Reports and Consultancy

Collins Rebecca. 2016 Stockton On Tees Artist Development Evaluation. Stockton Arts Centre (consultancy report)  

Collins Rebecca with Paul Heritage and Rachel Sanger. 2008. Changing the scene, Peoples Palace Projects, (Queen Mary University: London) Pub2582 

Collins Rebecca with Paul Heritage and Rachel Sanger. 2008. Staging Human Rights, Peoples Palace Projects, (Queen Mary University: London) Pub2581