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Creating Something that Feels Alive: Sound Design for Katie Mitchell. Interview with Donato Wharton.
No full textThis interview with leading British sound designer Donato Wharton focuses mainly on his work with the director Katie Mitchell. Wharton discusses his training and background, his working processes and how these mesh with Mitchell’s approach to directing and the work of other members of her creative teams, and the wider scenographic functions and possibilities of sound. Wharton was educated in Germany and trained in the UK, and the interview discusses some aspects of the British and continental theatre cultures, in both of which he and Mitchell have worked together. There are examples from various productions, both conventional theatre and live cinema, and a discussion of Mitchell’s artistry from the perspective of one of her close collaborators
Review of Susan Bennett and Sonia Massai (eds.), Ivo van Hove: From Shakespeare to David Bowie
No full text
Broken Puppet Symposia
No full textArticle discussing three symposia on puppetry and health known as the Broken Puppet symposi
Performing the Testimonial: Rethinking Verbatim Dramaturgies
No full textResponding to the resurgence of verbatim theatre that emerged in Britain, Australia, the United States and other parts of the world in the early 1990s, this book offers one of the first sustained, critical engagements with contemporary verbatim, documentary and testimonial dramaturgies. Offering a new reading of the history of the documentary and verbatim theatre form, the book re-locates verbatim and testimonial theatre away from discourses of the real and representations of reality and instead argues that these dramaturgical approaches are better understood as engagements with forms of truth-telling and witnessing. Examining a range of verbatim and testimonial plays from different parts of the world, the book develops new ways of understanding the performance of testimony and considers how dramaturgical theatre can bear witness to real events and individual and communal injustice through the re-enactment of personal testimony. Through its interrogation of different dramaturgical engagements with acts of witnessing, the book identifies certain forms of testimonial theatre move beyond psychoanalytical accounts of trauma and re-imagine testimony and witnessing as part of a decolonised project that looks beyond event based trauma, addressing instead of the experience of suffering wrought by racism and other forms of social injustice
Feeling Space, Making Space: Michael Chekhov's Approach to Theatre Design
No full textThis chapter is an overview of Michael Chekhov's little known ideas on theatre design and scenography. It charts how Chekhov at Dartington Hall integrated scenographic techniques into his actor-training with a focus on colour, costume, composition and gesture of the settings.
It concludes with a case study where Rushe applies these tools to her own production of Concert
Verbatim Practice as Research with Care-Experienced Young People: An ‘Aesthetics of Care’ Through Aural Attention
No full textThis chapter reflects on an interdisciplinary practice research project, The Verbatim Formula (TVF), based at Queen Mary University of London, consisting of a series of residential workshops with care-experienced young people using verbatim theatre practices. Drawing on feminist care ethicist Nel Noddings’ analogy between aesthetic engagement and the art of caring, the authors reflect on the shared values and aesthetics of acts of care and participatory practices, and how these inhere in the attentiveneness, attunement and receptivity involved in performing and receiving verbatim material using headphone theatre technique. The chapter incorporates testimonies from its care-experienced co-researchers and draws on Joan Tronto’s argument that there is a radical need for an intervention into the dynamics of power in society that ensure that those for whom the structures of care are least effective are heard and attended to. In acknowledging the ‘ugliness’ of caring and the ongoing labour of attunement, listening emerges in TVF both as an aesthetic but also as a care-based participatory and political practice, that aims to empower care-experienced young people to intervene in the structures that represent them and to support adults to honour their experiences and needs
