Royal Central School of Speech and Drama
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Orlan: A Hybrid Body of Artworks
No full textORLAN: A Hybrid Body of Artworks is an in-depth academic account of ORLAN's pioneering art in its entirety. The book covers her career in performance and a range of other art forms. This single accessible overview of ORLAN's practices describes and analyses her various innovative uses of the body as artistic material.
Edited by Simon Donger with Simon Shepherd and ORLAN herself, the collection highlights her artistic impact from the perspectives of both performance and visual cultures.
The book features:
* vintage texts by ORLAN and on ORLAN's work, including manifestos, key writings and critical studies
* ten new contributions, responses and interviews by leading international specialists on performance and visual arts
* over fifty images demonstrating ORLAN's art, with thirty full colour pictures
* a new essay by ORLAN, written specially for this volume
* a new bibliography of writing on ORLAN
* an indexed listing of ORLAN’s artworks and key themes
On Ageing
No full textPerformed by seven children aged between 7 and 13, On Ageing was a performance for adults which explored, through image, sound, light, text and the choreography of hundreds of objects, what it is to change, to grow, and to age.
Cast:
Georgie Barnes
Madeleine Jones
Joe Chanyacharungchit
Theo Peters
Tsipora St Clair Knights
Vaughn Clark Phillips
David Harradine & Sam Butler - Direction and Design
Ali Beale - Design & Production mangement
Ged Barry - Music
Hansjorg Schmidt - Light
Mark Webber - Film
Sam Evans - Technical stage manager
Synne Behrndt - Dramaturg
Beth Hoare-Barnes - Stage manager
On Ageing was created through an eighteen-month devising process, working closely with children, parents, grandparents, other artists, elders, and an advisory group of gerontologists. We also worked closely with Professor Maria Evandrou, Dr. Athina Vlachantoni and Dr. Rebecca Johnson at the Centre for Research on Ageing at the University of Southampton, to curate a symposium about theatre and ageing at the Young Vic
Michael Boyd
No full textThe Artistic Director of the Royal Shakespeare Company talks about his leadership of one of the country’s most iconic institutions and his own work as a director with Simon Shepherd
Risk-Taking in Sexual Health Communication and Applied Theatre Practice: What Can Happen?
No full textThis article argues that risk-taking can be an essential part of applied theatre practice as when it is coupled with a dialogical approach, it can result in a situation where people "encounter risks on their own terms" and engage with discussions around sensitive and controversial subjects such as non-consensual sex. With reference to Beck’s notion of a risk-sharing community, it suggests that in the process of partaking in discussions on such issues, such a community can be established, whereby people take risks by challenging different views as well as taking action by discussing the subject outside of the performance space
Heidegger and the Narrativity Debate
No full textOne unresolved dispute within Heidegger scholarship concerns the question of whether Dasein should be conceived in terms of narrative self-constitution. A survey of the current literature suggests two standard responses. The first correlates Heidegger’s talk of authentic historicality with that of self-authorship. To the alternative perspective, however, Heidegger’s talk of Dasein’s existentiality, with its emphasis on nullity and unattainability, is taken as evidence that Dasein is structurally and ontologically incapable of being completed via any life-project. Narrativity imports into Being and Time commitments concerning temporality, selfhood, and ethics, which Heidegger rejects. Although both positions find good exegetic support for their conclusions, they can’t both be right. In this article, I navigate a path between these two irreconcilable positions by applying insights derived from recent debates within Anglo-American literature on personal identity. I develop an alternative thesis to Narrativism, without rejecting it outright, by arguing that Dasein can be analysed in terms of what I call “narratability conditions.” These allow us to make sense of the prima facie paradoxical notion of “historicality without narrativity.” Indeed, rather than reconciling the two standard positions, I hold that the tension between them says something important about Dasein’s kind of existence. Thus I conclude that while the narrativist question “Who ought I to be?” is perfectly legitimate within limits, what the existential analysis of the limits on narratability reveals is that no answer to this question can ever be definitive
Salt Piece
No full textSalt Piece is an installation in which spectators are invited to commemorate a loss. Participants may mark the demise of a relative, a lover, a friend or maybe the passing of their own youth. By pouring salt over their memories participants both fall into and preserve a passing. Audience with performers are invited to write a few words of memorial and to set a place at a table for someone they miss. Five performers invite spectators to join their fall into salt memorials
Buildings for Theatre: Space and Function
No full textA presentation and panel discussion on architecture and the physical space required for a theatre. Under the spotlight: the extension of the Lyric as a community resource for the people of Hammersmith; the creation of the Unicorn Theatre, designed specifically for children; and conceptual models by
students at the Bartlett School of Architecture. The event was chaired by Professor Simon Shepherd, Vice-Principal (Academic), at the Central School of Speech & Drama