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Men and Girls Dance: Nottingham Edition
No full textDocumentation and Information on Fevered Sleep's Men and Girls Danc
Memory, Silence, and Democracy in Spain: Frederico Garcia Lorca, the Spanish Civil War, and the Law of Historical Memory
No full textWhat does it mean to unearth the dead? What is contemporary society’s responsibility to the disappeared? How do we live with the ghosts of history? In the midst of the search for the body of Federico García Lorca in 2009, Emilio Silva, cofounder and president of Spain’s Association for the Recovery of Historical Memory (ARMH)—a national organization assisting in the location and exhumation of the graves of Spain’s desaparecidos, or disappeared, during the Civil War and its aftermath—wrote of “the silent bones of Federico García Lorca and the skeleton of our democracy.” This essay traces the ways in which the remains of one of Europe’s most resonant twentieth-century dramatists haunt contemporary Spain. In mapping the wider ideological framework in which his work has been produced in Spain, it engages with the politics of a statesanctioned “official” history that has shaped his appropriation by the nation-state. Using the search for Lorca’s corpse in 2009 as a central focus, it examines how the exhumation of mass graves undertaken in twenty-first-century Spain can be viewed as a move toward a more nuanced understanding both of the events of the past and the fissures of the present in a country where issues of justice have been compromised for too long by a culture of silence
From the Mouths of Mothers: Can Drama Facilitate Learning for Social Workers?
No full textThis article explores and evaluates a cross-disciplinary small-scale project using applied theatre in social work education. The aim was to provide an ‘Affective Encounter’ where students could practice empathic engagement, understanding of the needs of children who have been sexually abused and their protective parents/carers and engage in the complexities of working with family members who may be resistant. The workshop took place five times over a period of three years and was attended by children and families social workers on a one year post-qualifying graduate diploma course. While the use of verbatim theatre does not offer a guarantee of factual truth, it provided the students with some performed moments of personal testimony which was taken word-for-word from mothers whose children had been sexually abused. This allowed the social workers to hear the marginalised narratives of the protective mothers and to practice without a negative impact on the service user. The evaluation identified from self-report the development of emotional and practical skills and knowledge of available resources. This paper focuses on the emotional skills reported and two emerging themes are discussed: learning for humane practice, and the use of this pedagogical approach to encourage affective reflection
Kneehigh Theatre
No full textThis series of three volumes provides a groundbreaking study of the work of many of the most innovative and important British theatre companies from 1965 to 2014. Each volume provides a survey of the political and cultural context, an extensive survey of the variety of theatre companies from the period, and detailed case studies of six of the most important companies. Volume Three, 1995-2014, charts the expansion of the sector in the era of Lottery funding and traces the resistant influences of earlier movements in the emergence of new companies and an independent theatre ecology that seeks to reconfigure the mainstream
New Monologues for Men
No full textNew Monologues for Men features forty monologues from plays published by Bloomsbury Methuen Drama recently. The monologues are selected by the editor, Geoffrey Colman, on account of their suitability and relevance to drama school students and recent graduates entering the profession.
Each monologue is preceded by an introductory paragraph, written by the editor, outlining the setting, character type, and point in the plot. Suggestions are offered for staging, performance decisions, points of significance in the text, and drawing on decisions made in professional production/s.
This collection is the go-to resource for auditioning actors with an insatiable appetite for new, original and excellent material. - See more at: http://www.bloomsbury.com/uk/new-monologues-for-men-9781472573476/#sthash.OsL4VMAe.dpu
Not Form, But the Marrow of Forms: Reflections on Lorca’s ‘Duende’ in the Arts Therapies
No full textWhat lies in potentia in the client is given the chance for expression through the arts therapies, tapping into a creative stream which is both personal and collective at the same time. The spontaneous creative moment is difficult to understand rationally and impossible to predict. Yet there are certain characteristics in these moments, which may help develop languages with which to reflect on psyche and the creation of meaning. In this chapter, I turn to Lorca’s idea of duende as a way of reflecting on this spontaneous and creative force, when a fullness of being is experienced partly through the letting go of form, allowing for the presence of the unknown. I refer to Lorca’s essay ‘The Theory and Play of Duende’ (Lorca, 1991) where he provokes thinking about duende not through the perpetuation of form, but from mining what he calls ‘the marrow of forms’ (46). The work of the artists Nick Cave, Jez Butterworth and Mark Rylance is then briefly discussed in relation to duende, drawing out further aspects of the nature of creativity, and ideas of loss and initiation. The chapter concludes by reflecting on the duende in relation to arts therapies training and practice
Review: Mladen Ovadija’s the Dramaturgy of Sound and Postdramatic Theatre
No full textA review of Mladen Ovadija’s the Dramaturgy of Sound and Postdramatic Theatre for 'New Theatre Quarterly 31.
Drama and Performance Studies (2015)
No full textThis chapter reflects on work in Drama and Performance Studies published in 2013 and 2014 and is divided into two sections: 1. Performing Anthropology; 2. Performance and Capitalism. Section 1 is by Daniël Ploeger and examines publications that consider performance in anthropology, archaeology and game studies through both theoretical analysis and practice-based enquiry. Section 2 is by Pieter Verstraete and focuses on developments in theatre and performance studies scholarship that engages with capitalism and neoliberalism, in relation to histories of the modernist avant-garde, contemporary arts policies, and sound in theatre and performance