Royal Central School of Speech and Drama
Central Research and Creativity Online - Royal Central School of Speech and DramaNot a member yet
743 research outputs found
Sort by
The Right Light
No full textHow do theatre lighting designers decide what is 'the right light' for each moment of a production? What informs their choices? Why does the audience respond more strongly when the lighting feels 'right'?
By interviewing nineteen prominent lighting designers and weaving their insights through his own narrative, Nick Moran aims to answer such questions. This book considers practice across different types of theatre, including opera, dance, musicals and drama. Rather than being a technical manual, it allows lighting designers to contribute contrasting and complementary ideas about how to approach lighting design. Moran argues that the best stage lighting is made with emotion, passion and soul, by creative artists willing to take risks.
Includes interviews with: Neil Austin – Lucy Carter – Jon Clark – Natasha Chivers – Paule Constable – James Farncombe – Rick Fisher – Mark Henderson – David Howe – Michael Hulls – Mark Jonathan – Peter Mumford – Ben Ormerod – Bruno Poet – Paul Pyant – Nick Richings – Johanna Town – Hugh Vanstone – Katharine William
Review: Steakhouse: Live Art, Live Writing
No full textPerformance festival Steakhouse Live returns for 2016 with a beefier line-up and a new embedded writing programme led by Diana and Bojana. Here, they discuss the fest’s growth, and why we need to think about new models of criticism that can support the shape-shifting practices of live art
Sergi López (Capt. Vidal)
No full textAn interview with Sergi López that focuses on his characterization of the dastardly Vidal in Guillermo del Toro’s El laberinto del fauno/Pan’s Labyrinth (2006)
Spain: Runaway Hits and Ephemeral Memorabilia
No full textJordi Galceran has proved to be one of Spain’s most commercially successful twenty-first century dramatists. His runaway hit, El método Gronholm (The Gronholm Method) by Sergi Belbel, was first staged at the Catalan National Theatre in 2003 in a pacey, disarming production (see Western European Stages, 17.1, Winter 2005, pp. 5–6); it played for over three years with an extended run at Barcelona’s Poliorama Theatre and a second Spanish-language production in Madrid directed by Tamzin Townsend (see WES, 17.3, Fall 2005, pp. 122–23). By the time the play returned to Barcelona in 2010 it had played in thirty-five different countries and been seen by over 2 million people. Recent information suggests the play has now been staged in over fifty countries; its treatment of corporate buy and sell culture refracted through the prism of a dog-eat-dog job interview clearly resonates across both the global north and south. The film version, directed by Argentina’s Marcelo Piñeyro in 2005, further consolidated Galceran’s reputation in the Spanish-speaking world and led to a number of revivals of earlier works, including a timely staging of Fuga in 2011 (again directed by Tamzin Townsend), which played during the eruption of a number of high-profile political corruption scandals (see WES, 23.2, Spring 2011, p. 8)
A Choreography of Words: Reflections on Justitia
No full textThis book offers a series of compelling responses to the Jasmin Vardimon Company’s production of Justitia, a multi-layered, multimedia dance theatre piece. Through an innovative, visually annotated text, which includes the original script by Rebecca Lenkiewicz, the book attempts to record the experience of the performance. Also included are nine critical responses from scholars and theatrical practitioners who consider the performance through lenses relating to time, collaboration, writing, confession, and the law
Memory is a Minefield: The Art of Re-enactment, the 2016 Edward Gordon Craig lecture by Lola Arias, chaired by Prof. Maria Delgado
No full textCan art be a way to revive the past? A means to represent memories and make present what is lost somewhere in our heads? Lola Arias has been working for more than ten years on interdisciplinary projects, using theatre, film and visual arts to explore the relationship between experience and narration, memory and fiction, personal history and a country’s history. In this lecture she provides an overview of her most recent productions in order to examine how writing can be produced that departs from real histories, what the relationship between the self-narrator and the artist is created through this kind of theatre, and, above all, what collateral effects these projects have on life and viceversa
Criticism as a Political Event
No full text[BOOK ABSTRACT]
The world of theatre criticism is rapidly changing in its form, function and modes of operation in the twenty-first century.
The dominance of the internet has led to a growing trend of selfappointed theatre critics and bloggers who are changing the focus and purpose of the discussion around live performance. Even though the blogosphere has garnered suspicion and hostility from some mainstream newspaper critics, it has also provided significant intellectual and ideological challenges to the increasingly conservative profile of the professional critic.
This book features 16 commissioned contributions from scholars, arts journalists and bloggers, as well as a small selection of innovative critical practice. Authors from Australia, Canada, Croatia, Germany, Greece, Italy, Latvia, Russia, the UK and the US share their perspectives on relevant historical, theoretical and political contexts influencing the development of the discipline, as well as specific aspects of the contemporary practices and genres of theatre criticism.
The book features an introductory essay by its editor, Duška Radosavljevic. - See more at: http://www.bloomsbury.com/uk/theatre-criticism-9781472577092/#sthash.CCXYdbgE.dpu