Royal Central School of Speech and Drama
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Theatre Aurality and the Spatiality of Sound in Performance
No full textTheatre aurality refers to emerging practices of sonic-led theatre and a critical field of theatre and
performance analysis. It explores sound in and as theatre; and it refers to the phenomenal and
discursive field of theatre sound and to the structures in which these occur; the socio-political and
philosophical, as well as the aesthetic. This paper will focus on the work of Extant, the UK’s leading
theatre company for the Blind and visually impaired, and its experiments with omnipresent,
directional and tactile sound in Flatland, a production of theatre-in-the-dark. The sound design for
this production generated the feeling of spaces in a number of ways, through near-ear and hand
held devices and via a sound design which explored the particular ambiguity of dimensions in
Flatland. Drawing on the philosophy of Jean-Luc Nancy I will explore how we can navigate spaces
through sound, through its feeling and hapticity, and how it can literally move its audience without
recourse to the visual
Spill Festival: Crawl, Burn, Stand and Sweep: Poetics of Body-Based Work in Urban Spaces
No full text
Performing Antagonism: Theatre, Performance & Radical Democracy
No full textThis book combines performance analysis with contemporary political philosophy to advance new ways of understanding both political performance and the performativity of the politics of the street.
Our times are pre-eminently political times and have drawn radical responses from many theatre and performance practitioners. However, a decade of conflict in the Middle East and Afghanistan, the eruption of new social movements around the world, the growth of anti-capitalist and anti-globalisation struggles, the upsurge of protests against the blockades of neoliberalism, and the rising tide of dissent and anger against corporate power, with its exorbitant social costs, have left theatre and performance scholarship confronting something of a dilemma: how to theorize the political antagonisms of our day? Drawing on the resources of ‘post-Marxist’ political thinkers such as Chantal Mouffe and Jacques Rancière, the book explores how new theoretical horizons have been made available for performance analysis
Terrassa’s TNT Festival: The New, the Usual and the Ugly
No full textIn depth production reviews at Terrassa’s 2016 TNT festival: 4 (Rodrigo García, Teatre Principal), Anarchy (Societat Doctor Alonso, Amic de les Arts), A Placer (Labuena Compañía, Sala Cupula), All In (Atresbandes, Sala Maria Plans), Pacífico #3 (Txalo Toloza, Sala Maria Plans), Veracruz (Lagartijas Tiradas al Sol, Nova Jazz Cava), L’effete de Serge (Philippe Quesne, Teatre Alegria
Play, Don't Tell: A Phenomenological Critique of the Semantic Paradigm of British Radio Dramaturgy
No full textControversial Intentions: Adaptation as an Act of Iconoclasm in Rupert Goold and Ben Power’s Faustus (2004) and the Chapman Brothers’ Insult to Injury (2003)'
No full textIn this chapter, I analyse the radical approach that Rupert Goold and Ben Power take to adapting Christopher Marlowe’s Dr. Faustus. I will argue that their Faustus is primarily an adaptation of an adaptation strategy as opposed to an adaption of a narrative. Goold and Power adopt an adaptation strategy employed by Chapman Brothers in their reworking of Goya’s Disasters of War, Insult to Injury, transposing it from the medium of visual art to the medium of theatre. My analysis will take into account the idea of artist intention. Artistic intentions will be used, not as a benchmark against which to judge the success of the finished artwork, but as a key to unlock the how’s and why’s of the adaptation process
International Influences and Drag: Just a Case of Tucking or Binding?
No full textRecently there has been an internationalisation in the training of UK drag performers. Whilst papers exist focused on drag kings and queens related to their community, few explore how kings/queens train – and fewer still explore international aspects. There are formal courses for drag, but historically this training was informal, present within specific performance communities built around LGBTQ cultures. Tracing dominant figures in such training – the drag mother/father – in order to historicise and contextualise the current explosion in drag performance,the paper argues that the potential globalisation of drag is largely down to the diversification of sources of knowledge available via the internet. Traditionally, performers trained with an established practitioner, where regional variances of drag were passed on. However, current new performers often learn ‘tricks of the trade’ through internet videos posted by people on other continents. In these videos, practitioners pass on their knowledge from the perspective of their locality, as if universal. New kings/queens are not passive in this training and locally infuse their acts, yet historical and local erasures persist. The paper argues that to engage with drag as performance one must be aware of locality and the deep connects drag has with its communities