Royal Central School of Speech and Drama
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Feeling in Counterpoint: Complicit Spectatorship and the Filipino Performing Body
No full textThis essay considers three examples of Filipino "mimicry" in performance: a scene from the nineteenth-century novel Noli Me Tángere; an "anonymous" singer covering pop songs in a viral video; and a Filipina popstar playing the female lead in a West End musical. Writing from an embodied and personal standpoint, the author uses these examples to theorize a mode of spectatorship he calls "feeling in counterpoint." Drawing on the idea of contrapuntal music and its subsequent deployment in postcolonial theory, feeling in counterpoint attempts to describe the unruliness and multidirectionality of affect, history, coloniality, and migration. This multidirectionality intervenes and suggests a different direction for Philippine theatre studies than unidirectional movement of the postcolonial or decolonial cultural narrative. Feeling in counterpoint articulates a colonial and racialized formation at the same time that it reveals it to be moving and dynamic, marking the very thing that exceeds or evades capture by historical forces. In summary, the essay suggests a way of listening for the lived and affective experiences that resists incorporation into a larger historical interpretation or narrative
Chapter 25 in The Routledge Companion to Jacques Lecoq
No full textIn this Chapter, Movement Director Ayse Tashkiran examines the relationship between Lecoq training and movement direction. The focus is Claude Chagrin's early work at the National Theatre. She draws links between facets of the Lecoq training and a range of movement directors with a shared training
Theater, Queer - An Entry In: Global Encyclopedia of Lesbian, Gay, Bisexual, Transgender, and Queer (LGBTQ) History, 1st Edition
No full textAn Encyclopaedia entry focussing on The history and current state of gay, lesbian, and queer theater, focusing on the United Kingdom and the United States. in Global Encyclopedia of Lesbian, Gay, Bisexual, Transgender, and Queer (LGBTQ) History, 1st Edition,Howard Chiang, Anjali Arondekar, Marc Epprecht, Jennifer Evans, Ross G. Forman, Hanadi Al-Samman, Emily Skidmore, Zeb Tortorici (eds) NY: Charles Scribner's Sons 2018
Embodied Perspectives on Sculpture: A Case Study in Interdisciplinary Research
No full textThe International Community for Movement (ICM) aims to connect and extend the field of actor movement by offering workshops, discussion and talks for professional movement practitioners and actors. The ICM acts as a gathering point for the development of movement teachers, movement directors and other movement practitioners working in theatre, actor training and allied fields.
The MA/MFA Movement: Directing and Teaching course leaders have curated the ICM; the combined specialisms of Vanessa Ewan and Ayse Tashkiran of actor movement pedagogy and movement direction pedagogy inform the events of this community. In the pilot phase we have run a series of creative, teaching research projects and workshops that have shared practices, as well as initiated and responded to questions arising from movement direction and actor movement
States of Wake: Dedicating Performance
No full text(States of Wake) was a live critical writing project that took the form of dedications as moments of critical attention, unfolding as part of WAKE Festival in Folkestone. This book is a document of that process and an exploration of the gesture of dedicating performance
Stage Rights! : the Actresses Franchise League, Activism and Politics 1908-1958
No full textStage rights! explores the work and legacy of the first feminist political theatre group of the twentieth century, the Actresses' Franchise League. Formed in 1908 to support the suffrage movement through theatre, the League and its membership opened up new roles for women on stage and off, challenged stereotypes of suffragists and actresses, created new work inspired by the movement and was an integral part of the performative propaganda of the campaign. Introducing new archival material to both suffrage and theatre histories, this book is the first to focus in detail on the Actresses' Franchise League, its membership and its work. The volume is formulated as a historiographically innovative critical biography of the organisation over the fifty years of its activities, and invites a total reassessment of the League within the accepted narratives of the development of political theatre in the UK
Theatre at the Impasse: Political Theology and Blitz Theatre Group's Late Night
No full textThis essay describes a performance by the Greek theatre collective, Blitz Theatre – Late Night – as constituting a theatrical response to current political crises in Europe. What I call a ‘theatre of the impasse’ seeks to bear witness to the experience of impasse, where impasse and crisis must be fundamentally distinguished. Impasse is revealed where crisis admits of no decision adequate to the situation; and, correspondingly, where theatre loses faith in the power of decision to resolve its conflicts. I situate these claims with reference to Carl Schmitt’s and Walter Benjamin’s dispute over political theology, arguing that a theatre of the impasse might be thought as an ‘allegorical’ theatre in Benjamin’s terms. Blitz Theatre’s Late Night reveals, thereby, the concealed truth of the impasse: a founding human sociality experienced as world immanence. In doing so doing, I argue, this theatre frustrates every hope for the kind of political theology of the stage envisaged by Schmitt. I read the performance, instead, as an elegy to Nancy’s inoperative community, at the centre of which are the figure of lovers, bound to, yet unable to take possession of, one another. Staging impasse, Late Night allegorises the fragile human community, exposed in its fundamental precarity
Reframing Past and Present: Madrid Theatre 2018
No full textThis article provides reviews of the following Madrid productions: Die Soldaten (Dir. Calixto Bieito, Teatro Real); El Tratamiento (Writer and Dir. Pablo Remón, Pavón Teatro Kamikaze); Azaña, una pasion española (performed and directed by José Luis Gómez, Teatro de la Abadía); La ternura (Writer and Dir. Alfredo Sanzol, Teatro de la Abadía), Enemigo del pueblo (Ágora) (a version of Ibsen's Enemy of the People, Dir. Álex Rigola, Pavón Teatro Kamikaze