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Review: Snow Mouse at the Barbican December 13 - December 23
No full textWinter wonderland: the egg and Travelling Light Theatre Company create a sensory world of snow
Witnessing change: understanding change in participatory theatre practice with vulnerable youth in a Kids Company supported primary school
No full textThis article details key findings from a longitudinal study conducted in collaboration with Kids Company, funded by the Arts and Humanities Research Council. (AHRC). The focus of this article is the role of the ‘teacher as witness’ to the impact of a participatory theatre project with vulnerable young people. This research argues that the opportunities afforded by challenging pre-emptive constructs of vulnerable youth held by a teacher, can enable changes that take place within a workshop, which can often remain temporary and confined to the space and time of a project, to transition back into the wider school environment. Drawing upon the concept of witnessing discussed by Laub and Felman (1992), Rymaszewska (2006), Gerhardt (2004) and Coady (1992, 2002), this article proposes that witnessing change can offer a means of sustaining impact. Insights into this proposition are offered in an example case study analysis of a project I conducted within a Kids Company supported primary school setting in Lambeth, South –East London
Sticky Stories: Joe Orton, Queer History, Queer Dramaturgy
No full textThis paper investigates the resonances of Orton’s work for contemporary queer audiences. By presenting potential reasons for the rise and fall in popularity and visibility of Orton’s work for queer and gay audiences through the 1980s and 1990s, this paper looks to the queer context in which Joe Orton’s work developed in order to explore the queer social history into which it fits. This sense of queer history is linked to contemporary notions of queer theorising about temporalities and queer dramaturgy, which offers potentially novel ways of engaging with Orton’s work queerly without twisting it to fit a ‘neat’ reading, in part because such readings tend to ‘smooth out’ the more difficult elements of the work. In particular, the paper explores the theatrical form of farce, often articulated as conservative, in relation to queer positions, which are quite the opposite. In so doing, the paper, by way of queer temporalities and work on queer dramaturgies, sketches out a reading strategy that does not ignore Orton’s more difficult or stickier elements, in particular his treatment of women and race
Backpages: The Editing of Emma Rice
No full textThis short article reflects on the significance of the sudden announcement, in autumn 2016, of the imminent departure of Emma Rice as Artistic Director of Shakespeare's Globe
The Film Festival Circuit
No full textIn this chapter I survey the origins of film festivals in Latin America and the Caribbean, which have too rarely been the focus of academic study, particularly in the English language, situating them in their respective historical contexts (national and otherwise) and exploring their relationship with the international film industry. I will examine the role that the international festival circuit has played in promoting a certain kind of Latin American cinema through the discovery and promotion of “New Waves,” especially during the late 1960s and 1970s when a more politicized cinema flourished in Latin America. More pertinently, I will look at the influence that this international attention has had on Latin American film festivals’ own involvement in nation building, and their extolling of a politically and culturally utopian image of the continent through cinema, which in turn will bring into focus the problematic notion of a unified Latin American cinema
Performing Local Places: Working with Councils to Reach New Communities and Facilitate Well-Being in Living Environments (Final Report).
No full textMadrid’s Theatre Takes Inspiration From the Greeks
No full textThere has been something in Madrid’s theatre that has seen a return to the spirit of the Greeks: plays inspired by or adapted from classical tragedies that ask fundamental questions about what democracy means and how it functions. At a time when Spain’s right-wing government appears increasingly besieged, with a fractured left and a referendum on independence scheduled in Catalonia, theatre has offered a space in which to discuss issues of identity, self, and other. An exciting new initiative at the Pavón Teatro has sought to address issues of community, providing a stronger infrastructure for the generation and production of new writing. Wajdi Mouawad’s Scorched has returned for a third spell at the Abadía theatre, where over 60,000 spectators have already seen Mario Gas’s production, with Nuria Espert in a key role at the age of 82. It’s still too early to see whether the reduction of value added tax (VAT) on theatre tickets from 21% to 10% introduced this summer will boost attendance, but all the performances reviewed below had buoyant if not full houses on the evenings I saw the shows; theatre still matters in Spain’s theatrical capital
A Companion to Latin American Cinema
No full textA Companion to Latin American Cinema offers a wide-ranging collection of newly commissioned essays and interviews that explore the ways in which Latin American cinema has established itself on the international film scene in the twenty-first century.
Features contributions from international critics, historians, and scholars, along with interviews with acclaimed Latin American film directors
Includes essays on the Latin American film industry, as well as the interactions between TV and documentary production with feature film culture
Covers several up-and-coming regions of film activity such as nations in Central America
Offers novel insights into Latin American cinema based on new methodologies, such as the quantitative approach, and essays contributed by practitioners as well as theorist
Jacques Lecoq and the Studio Tradition
No full textThis chapter explores the Ecole International de Theatre Jacques Lecoq in Paris as an example of a Theatre Studio. It charts the development of the Studio movement in Moscow and Paris in the early twentieth century through the work of Stanislavsky, Meyerhold and Copeau, and frames Lecoq's practice in the context of the legacy of their work. Ultimately, it argues that, by combining explorations of occluded theatre histories with ideas from contemporary culture, and by focusing on the psychophysical space of the body, the pedagigic space between training and experimental practice, and the creative space between fredom and discipline, Lecoq' s school was the most influential and significant twentieth-century incarnation of the ideals of the Studio tradition