Royal Central School of Speech and Drama
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Voice: The Practitioners, Their Practices, And Their Critics: Reassessing The Controversy In Its Historical Context
No full textA fresh look at the position taken by Linklater, Rodenburg and Berry in a discussion about feminism and voice practices
In Contact with the Gods?: Directors Talk Theatre
No full textIn 1994 the Arts Council of Great Britain brought together a number of theatre directors as part of the City of Drama celebrations. This is a collection of interviews and discussions with directors who have helped shape the development of theatre in the last 20 years. They include Peter Brook, Peter Stein, Augusto Boal, Jorge Lavelli, Lluis Pasqual, Lev Dodin, Maria Irene Fornes, Jonathan Miller, Jatinder Verma, Peter Sellars, Declan Donnellan, Ariane Mnouchkine, Ion Caramitru, Yukio Ninagawa and Robert Wilson. In addition to the art and craft of directing, there are discussions on multiculturalism; the "classical" repertoire; theatre companies and institutions; working in a foreign language; opera; Shakespeare; new technologies; the art of acting; design; international festivals; politics and aesthetics; the audience; and theatre and society. Finally, there is an epilogue by Peter Brook, Jonathan Miller and Oliver Sacks
Community
No full text"Where once the polis inaugurated a political theatre, with its agora and its forum, now there is only a cathode-ray screen, where the shadows and spectres of a community dance amid their processes of disappearance..." (Virilio, 1991: 19)
Paul Virilio engages consistently with the military-industrial complex of the modern technologic city and the dangers of the resulting ‘abandoned real’. In Lost Dimension (1991), he points to the growing lack of ‘plenum’, space that should be filled with (human) matter and substance. Plenum, he suggests, has been abandoned for ‘an electronic topology’, erasing face to face encounter. Virilio’s prediction of the demise of communities posited on live presence is not unique. Indeed, Williams’ community, a ‘warmly persuasive word to describe an existing set of relationships’ (1976: 76), with its implication of physical locus, has been challenged, jostled and nearly thrown out with the bath water in the thirty years since Keywords.
As a performance and applied theatre academic, community is a provocative and testing centrepiece of life. In this brief opportunity to let it tug and chafe some more, I will suggest, in Part 1, some shifts that have contrived to destabilise prior readings of ‘community’ turning it into an insecure and unreliable concept in our area and, in Part 2, ask how such destabilisation might have ramifications for a performance praxis