Royal Central School of Speech and Drama
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The Potential of Radical Kindness as a Methodology in Applied Theatre in Arts and Health
No full text7 Angel of Love: The Story of Film-Making in an Acute Dialysis Unit in a Time of Covid-19
No full textArte Político después del Giro Comunicativo
No full textResumen. Escribiendo en respuesta al ensayo de Sartre sobre literatura comprometida, Adorno proclamó: “No es el momento para obras de arte políticas; más bien, la política ha migrado a la obra de arte autónoma, y ha penetrado más profundamente en obras que se presentan a sí mismas como políticamente muertas”. Hoy, los teóricos del “giro social” en el arte han rechazado completamente a Adorno, adoptando en cambio un nuevo tipo de compromiso en el arte. En este ensayo, revisito esta larga disputa sobre la “eficacia” social del arte en sus formas clásicas y contemporáneas. Al preguntarme cómo debemos entender la labor política del arte en nuestros días, examino dos teorías del efecto, basadas en un análisis del “giro comunicativo” de Habermas: una que alego que conduce a una reducción sociológica de lo político en el arte; y otra que sugiero que ofrece una base para entender la eficacia política del arte, comprendida en términos de lo que yo llamo una teoría del efecto político “perlocutiva” o “aleatoria”. Palabras clave: Arte político; giro social; compromiso; eficacia; Habermas; perlocución
Visceral Data for Dance Histories: Katherine Dunham’s People, Places, and Pieces, 1947-60
No full textBetween 1947-60, choreographer Katherine Dunham spent over 5000 days in hundreds of cities on six continents. During that time, almost 200 dancers, drummers, and singers travelled with her, performing over 200 repertory pieces. This essay engages with Dunham as a case study to explore the questions and problems that make data analysis and visualization meaningful for dance historical inquiry. Using a granular approach, we build datasets that elaborate the historical contours of the Dunham company as a porous and dynamic movement community as it traveled extensively through the world. Through this historical dance data, we sketch possible lines of transmission for embodied knowledge, and consider how repertory itself further circulated that knowledge. Dunham’s expansive work lends itself to digital approaches that illuminate the complex ways history is iterated across bodies, and how the specific questions raised by dance history underpin a visceral approach to the digital humanities
Digital Intergenerational Practice – Linking Schools, Wellbeing and Older Adult NHS Patients Through the Digital Applied Theatre
No full text
Visceral Data for Dance Histories: Katherine Dunham’s People, Places, and Pieces
No full textBetween 1947-60, choreographer Katherine Dunham spent over 5000 days in hundreds of cities on six continents. During that time, almost 200 dancers, drummers, and singers travelled with her, performing over 200 repertory pieces. This essay engages with Dunham as a case study to explore the questions and problems that make data analysis and visualization meaningful for dance historical inquiry. Using a granular approach, we build datasets that elaborate the historical contours of the Dunham company as a porous and dynamic movement community as it traveled extensively through the world. Through this historical dance data, we sketch possible lines of transmission for embodied knowledge, and consider how repertory itself further circulated that knowledge. Dunham’s expansive work lends itself to digital approaches that illuminate the complex ways history is iterated across bodies, and how the specific questions raised by dance history underpin a visceral approach to the digital humanities
Intergenerational Process Drama: Practitioner Reflection on Creative Adventures in an Acute Hospital Context
No full textThis reflection will offer insights into the methodology of process drama as a tool for intergenerational connection, co-intentional pedagogy and playfulness for children collaborating with older adult patients living with dementia. Providing insights into the adaption of conventional models of process drama drawing on the work of Cecily O’Neill, this reflection considers the key lessons learnt from two years of Intergen, a project funded by Imperial Health Charity. Though the project itself incorporated multiple art forms, this piece will focus on intergenerational process drama to share insights into the way the practice evolved to engage both older adult patients and children in acute hospital contexts
