Royal Central School of Speech and Drama
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Steakhouse Live: A Collective of Artists and Producers Creating New Spaces for Live Art and Performance
No full textA muli-authored durational writing project, exploring critical responses to live art as part of the Steakhouse Live Festival LONGER< WETTER, FASTER, BETTE
Bruit Pittoresque / Cadres Musicaux. La Composition Pittoresque et Mélodramatique du Son au Théâtre
No full text
Review: Two Man Show at the Soho Theatre 6th September - 1st October 2016
No full text“Where fake muses stand on fake plinths to pose for fake male gazes”: Diana Damian Martin reviews the post-Edinburgh run of Two Man Show at the Soho Theatre
Review: Foreignisation on Stage: Les Serpents
No full text“Your silhouette is an outrage to beautiful materials”. As part of a series of articles on theatre in translation, Diana Damian Martin explores the complexities of translating NDiaye’s text ‘Les Serpents’, a mythological exploration of colonialism
The Theatre of Thomas Ostermeier
No full textThomas Ostermeier is the most internationally recognised German theatre director of the present. With this book, he presents his directorial method for the first time. The Theatre of Thomas Ostermeier provides a toolkit for understanding and enacting the strategies of his advanced contemporary approach to staging dramatic texts. In addition, the book includes:
Ostermeier’s seminal essays, lectures and manifestos translated into English for the first time.
Over 140 photos from the archive of Arno Declair, who has documented Ostermeier’s work at the Schaubühne Berlin for many years, and by others.
In-depth ‘casebook’ studies of two of his productions: Ibsen’s An Enemy of the People (2012) and Shakespeare’s Richard III (2015)
Contributions from Ostermeier’s actors and his closest collaborators to show how his principles are put into practice.
An extraordinary, richly illustrated insight into Ostermeier’s working methods, this volume will be of interest to practitioners and scholars of contemporary European theatre alike
Performing Location: Place and Applied Theatre
No full textAs the twenty-first century moves towards its third decade, applied theatre is being shaped by contemporary economic and environmental concerns and is contributing to new conceptual paradigms that influence the ways in which socially engaged art is produced and understood. This collection offers fresh perspectives on the aesthetics, politics and histories of applied theatre. With contributions from leading scholars in the field, the book illuminates theatre in a diverse range of global contexts and regions. Divided into three sections - histories and cultural memories; place, community and environment; and poetics and participation - the chapters interweave cutting-edge theoretical insights with examples of innovative creative practice that traverse different places, spaces and times. Essential reading for researchers and artists working within applied theatre, this collection will also be of interest to those in theatre and performance studies, education, cultural policy, social history and cultural geography
The Magic Flute and L’Ecole Jacques Lecoq: A Conversation between William Kentridge and Simon McBurney
No full textSimon McBurney and William Kentridge studied at L'École Jacques Lecoq in the early 1980s. After leaving the school, their paths diverged and both have become internationally celebrated artists. Kentridge is best known for his prints, drawings and animated films, and McBurney for his productions as Artistic Director of Complicite and as a prolific film actor. In recent years, both have arrived at directing opera and have staged international productions of 'The Magic Flute': Simon McBurney for De Nederlandse Opera (ENO) and International Festival of Lyric Art, Aix-en-Provence in 2013; and William Kentridge for the Théâtre Royal de la Monnaie (Bruxelles), Teatro di San Carlo (Napoli), Opéra de Lille and Théâtre de Caen (originally in 2005). 'The Magic Flute' was the starting point for this conversation (Kentridge and McBurney 2014) between these two Lecoq-trained artists and reveals how their shared training in Paris indelibly shaped their creative processes
Swazzles of Subversion: Puppets Under Dictatorship
No full textThis volume gathers contributions from a range of international scholars and geopolitical contexts to explore why people organise themselves into performance communities in sites of crisis and how performance – social and aesthetic, sanctioned and underground – is employed as a mechanism for survival. The chapters treat a wide range of what can be considered 'survival', ranging from sheer physical survival, to the survival of a social group with its own unique culture and values, to the survival of the very possibility of agency and dissent. Performance as a form of political resistance and protest plays a large part in many of the essays, but performance does more than that: it enables societies in crisis to continue to define themselves. By maintaining identities that are based on their own chosen affiliations and not defined solely in opposition to their oppressors, individuals and groups prepare themselves for a post-crisis future by keeping alive their own notions of who they are and who they hope to be
Aurality and Performing the Unheard
No full textCan attention to the aurality of performing simultaneously reveal and problematise the production of meaning in acts of performance? How does the performer’s aurality – in particular their vocal aura: breath, body and air – function as an arbiter of this? This paper investigates how theatricalised vocality, in particular the performance of the unheard voice, creates a gestic aurality, which in turn generates an opportunity for non-ocularcentric dialogue between the body and voice. I will argue that within gestic gaps emerge certain affects of aural performance, and in these incomplete acts of utterance and our un-finished acts of listening are the points at which noise emerges. This paper will suggest that at these moments of aural hiatus, noise becomes productive in the problematisation of meaning. The ‘noise’ of performance and its aural adumbrations present an affective acoustic model for performance analysis, not within or beyond but generated by the body. This allows and enjoys the aural excesses of theatre noise in our understanding of how subjectivities are acted and how performance functions which, in turn, agitates the prevalent ocularcentricism of performance analysis