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Journal articles on the topic 'Barter Theatre'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Exe Christoffersen, Erik. "Byttehandel i Grønland." Peripeti 19 (October 11, 2022): 140–51. http://dx.doi.org/10.7146/peri.v19isaernummer2.134032.

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Barter trade in GreenlandThis essay addresses the principles of Odin Teatret’s ‘barter trade’ used for a project in Greenland from 2021 to 2024. It is an artistic device which Odin Teatret has used since 1974. Barter trade breaks down traditional conventions of theatre usually taking place outside theater institutions and doesn’t make use of narrative dramaturgy. During the barter trade the performers “exchanges” their own material with the audience and facilitate a process of response between players and audience when performing songs, dances and/or scenes. The method can be described in term

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2

Shevtsova, Maria. "Reinventing Theatre." New Theatre Quarterly 23, no. 2 (2007): 99–114. http://dx.doi.org/10.1017/s0266464x07000012.

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Eugenio Barba here discusses the desires and ideas driving his early years as a practitioner, some of the creative, social, and ethical principles underlying the work of the Odin Teatret, which he founded in 1964, and the group's most recent, new-style ‘barter’ events with and within local communities. His public dialogue with NTQ co-editor Maria Shevtsova and members of the audience provides fresh insight into the workings of one of the most influential figures, and one of the most widely known non-official theatre collectives, of the late twentieth century. The conversation took place on 31

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3

Watson, Ian. "Ways of Understanding the Culture: Re-examining the Performance Paradigm." New Theatre Quarterly 16, no. 4 (2000): 333–46. http://dx.doi.org/10.1017/s0266464x00014081.

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The tendency for ‘performance studies’ to embrace and even supplant ‘theatre studies’ can usefully enlarge our perceptions of the relevance of theatricality to other disciplines and activities – but fully extended into the ‘performativities’ of everyday life can be counterproductive when definitions are so loose as to be redundant. Here, Ian Watson considers the boundary-crossing qualities of two variants on the ‘performance paradigm’ – Eugenio Barba's bridge-building concept of ‘Barter Theatre’ and Augusto Boal's deliberately provocative ‘Invisible Theatre’. He proceeds to relate the characte

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4

Arnold, Nicholas. "The barter concept and practices of Eugenio Barba's Odin theatre: Cultural exchange or cultural colonialism?" European Legacy 1, no. 3 (1996): 1207–12. http://dx.doi.org/10.1080/10848779608579551.

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5

Watson, Ian. "Theatre as Social Science: A Comparative Study of Eugenio Barba's Barter Performances and the 1992 Los Angeles Riots." Modern Drama 39, no. 4 (1996): 574–84. http://dx.doi.org/10.3138/md.39.4.574.

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6

Davis, Jim, and Tracy C. Davis. "The People of the “People's Theatre”: The Social Demography of the Britannia Theatre (Hoxton)." Theatre Survey 32, no. 2 (1991): 137–65. http://dx.doi.org/10.1017/s0040557400001046.

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In 1882, Walter Besant declared that the hinterland beyond Aldgate had two million people yet “no institutions of their own to speak of, no public buildings of any importance, no municipality, no gentry, no carriages, no soldiers, no picture-galleries, no theatres, no opera—they have nothing.” The fact that Whitechapel first appeared in the theatrical annals in 1557, Stepney contained several of the largest engineering projects in Regency London, and Shoreditch's Britannia was one of the most successful theatres in Victorian Britain belies the prejudice in Besant's statement. Cultural historia

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7

Sullivan, Esther Beth. "Vectia, Man-Made Censorship, and the Drama of Marie Stopes." Theatre Survey 46, no. 1 (2005): 79–102. http://dx.doi.org/10.1017/s0040557405000062.

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In the 1920s, the Royal Court Theatre still enjoyed the reputation earned earlier in the century by Harley Granville Barker and John Vedrenne, yet its daily fare was not remarkably distinctive from other West End theatres. In that context, an aspiring playwright was contracted to write a play for the Court's 1923 season. The playwright happened to be Marie Stopes, (in)famous author of the best-selling sex-education and birth-control manual Married Love. “Contracted” is the word Stopes uses. It could also be speculated that, in a year when the Court's five main undertakings had as many as five

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8

Trussler, Simon. "Theatre Practice, Theatre Studies, and ‘New Theatre Quarterly’." New Theatre Quarterly 1, no. 1 (1985): 3–6. http://dx.doi.org/10.1017/s0266464x00001378.

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The original series of Theatre Quarterly ran for ten years and forty issues, from 1971 to 1981. The relaunched journal intends to continue the best traditions of the old, while reflecting the changes that have overtaken the English-speaking theatre in the intervening years. Simon Trussler, who was an editor of the old TQ throughout its existence, here offers some personal reflections on the appearance of New Theatre Quarterly, the present mood of the theatre, and the challenges now facing theatre practitioners and researchers alike. Simon Trussler is also author of over twenty books and monogr

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9

Davis, Jim. "The Gospel of Rags: Melodrama at the Britannia, 1863–74." New Theatre Quarterly 7, no. 28 (1991): 369–89. http://dx.doi.org/10.1017/s0266464x00006072.

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We are happy to return to the Britannia Theatre, Hoxton, the subject of pioneering studies by Clive Barker in the original Theatre Quarterly, where he used the ‘Brit’ as focus for an overview of the problems of researching nineteenth-century popular theatre in TQ4 (1971), proceeding to a detailed analysis of our knowledge of the nature and composition of the theatre's audiences in TQ34 (1979). Jim Davis now turns to the repertoire of the theatre, and, for one representative decade from 1863 to 1874, explores the sources of the melodramas presented there – a great many of them specially written

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10

Brown, John Russell. "Performance, Theatre Training, and Research." New Theatre Quarterly 12, no. 47 (1996): 207–15. http://dx.doi.org/10.1017/s0266464x00010204.

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John Russell Brown, who was a founder member and first Head of the University of Birmingham's Department of Drama and Theatre Arts, and subsequently an Associate Director of the National Theatre in London, here responds to the article by NTQ co-editor Clive Barker in our May 1995 issue, ‘What Training – for What Theatre’, taking as further text an editorial by Richard Schechner in the Summer 1995 issue of TDR. Currently, as a Professor of Theatre at the University of Michigan, John Russell Brown is teaching a production-based undergraduate acting course, and is also an advisor for Theatre Stud

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11

McCaw, Dick. "The Comeback Kid." New Theatre Quarterly 21, no. 3 (2005): 206. http://dx.doi.org/10.1017/s0266464x05230105.

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I picture Clive Barker surrounded by plastic bags of all colours, shapes, and sizes, each one crammed with pieces of paper. This was the encyclopedia of world theatre that he carried about with him: there were facts, anecdotes, commentaries on plays, playwrights, theatre forms, theatre companies, theatre movements—and more stories than you could tell in a thousand and one nights.

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12

Gainor, J. Ellen. "Granville Barker on Theatre: Selected Essays by Harley Granville Barker." Theatre Journal 70, no. 3 (2018): 425–26. http://dx.doi.org/10.1353/tj.2018.0074.

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13

Barker, Clive. "When the Kissing Stopped… and What Happened Next." New Theatre Quarterly 4, no. 14 (1988): 144–51. http://dx.doi.org/10.1017/s0266464x00002670.

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In his major work on Theatre Games (Methuen, 1977), Clive Barker provided both a practical textbook on the uses of game-playing for actors, and some theoretical background to its value. There, he largely stressed the function of games as a means to an end – the development of acting skills, and the enrichment of the rehearsal process. But, partly as a result of the book's appearance, he has also conducted many one-off ‘game workshops’, often for groups whose concerns are not primarily or professionally theatrical: and in the following article he discusses the value that game-playing still seem

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14

Gahan, Peter. "Granville Barker on theatre: selected essays." Studies in Theatre and Performance 39, no. 3 (2018): 318–19. http://dx.doi.org/10.1080/14682761.2018.1435961.

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15

Barker, Clive. "What Training – for What Theatre?" New Theatre Quarterly 11, no. 42 (1995): 99–108. http://dx.doi.org/10.1017/s0266464x00001123.

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Drama training in Britain at the present time is replete with horror stories. In the academic sector, intake numbers have been pushed far beyond the strength of the resources – whether of personnel or performing spaces – designed to accommodate them. In the actor training sector, those students who have somehow managed to cope with the heavy fees struggle for subsistence – often by working at full-time jobs during the night and at weekends, while some have even joined the homeless on the streets. In the following article, Clive Barker attempts to disentangle the complex web of factors which ha

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Barker, Clive. "Games in Education and Theatre." New Theatre Quarterly 5, no. 19 (1989): 227–35. http://dx.doi.org/10.1017/s0266464x00003304.

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In his major work on Theatre Games (Methuen, 1987), Clive Barker provided both a practical textbook on the uses of game-playing for actors, and some theoretical background to its value. There, he largely stressed the function of games as a means to an end - the development of acting skills through the enrichment of the rehearsal process. In NTQ14 (1988). he described how he came to develop ‘games workshops’ for non-theatrical purposes, and considered the value of games-playing for adults by analogy with the function of the ‘kissing games’ of his own childhood and adolescence. In this article (

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17

Arf, Pshtiwan M. "The Status of Language in Howard Barker’s Theatrical World." KOYA UNIVERSITY JOURNAL OF HUMANITIES AND SOCIAL SCIENCES 8, no. 1 (2025): 539–44. https://doi.org/10.14500/kujhss.v8n1y2025.pp539-544.

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Howard Barker as postmodern British dramatist pays great attention to the freedom of expression and writing; he defies political and ideological censorship on British theater. Freedom of expression is well reflected in all his plays since the 1980s. He is well-known for his point of view that theater should not be used to deliver any moral, political, or ideological message, it should be left for the audience for interpretation. The composition and style of language are features of Barker’s plays that overflow with richness and diversity This paper discusses the theatrical language of Howard B

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18

Mazer, Cary M., and Dennis Kennedy. "Granville Barker and the Dream of Theatre." Theatre Journal 38, no. 4 (1986): 505. http://dx.doi.org/10.2307/3208308.

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19

Shattuck, Charles H., and Dennis Kennedy. "Granville Barker and the Dream of Theatre." Shakespeare Quarterly 38, no. 4 (1987): 538. http://dx.doi.org/10.2307/2870439.

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20

Burt, Philippa. "From the Western Front to the East Coast: Barker's The Trojan Women in the USA." New Theatre Quarterly 34, no. 4 (2018): 326–38. http://dx.doi.org/10.1017/s0266464x18000404.

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When Harley Granville Barker was invited to stage a theatre season in New York following the outbreak of the First World War, senior figures within British politics seized on it as an opportunity to promote the British war effort in the United States. It was, however, Barker's impromptu decision to extend his stay and tour Euripides’ The Trojan Women to major colleges on the East Coast that saw him come close to realizing this goal. Through an examination of the production, the discourse that surrounded it, and the changing diplomatic relations between Britain and the USA, Philippa Burt explor

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21

Shaughnessy, Robert. "Howard Barker, the Wrestling School, and the Cult of the Author." New Theatre Quarterly 5, no. 19 (1989): 264–71. http://dx.doi.org/10.1017/s0266464x0000333x.

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Howard Barker was the last playwright to be interviewed in the original Theatre Quarterly – in TQ40 (1981) – and a subsequent interview was included in NTQ8 (1986). Yet he has also been accused of encouraging a credo of ‘engagement but confusion’ which serves the cult of Thatcherism which it claims to oppose: and certainly he is unique among his generation of British dramatists in having achieved both a large cult following, and a considerable body of opposition to his theoretical position. Robert Shaughnessy, who teaches in the Roehampton Institute, here analyzes not so much Barker's work as

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22

Kershaw, Baz. "Innovative Spirit at the Heart of Theatre Studies." New Theatre Quarterly 21, no. 3 (2005): 203–4. http://dx.doi.org/10.1017/s0266464x05210102.

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Clive Barker made an exceptional contribution to British theatre studies and its international standing. No one else of his generation travelled the extraordinary distance from a conventional stage-management course to become a world leader in actor training workshops, as well as an editor and scholar of distinction. He was a pioneer in bridging the uneasy divide between the professional theatre and its serious study in British universities.

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23

Zaiontz, Keren. "Archetypes, Urbanites and Bus Rides: How the “Here“ Becomes the “There“ in Bluemouth Inc.’s American Standard." Canadian Theatre Review 126 (March 2006): 83–87. http://dx.doi.org/10.3138/ctr.126.017.

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The spinning red-and-white pole outside Pat’s Barber Shop on D’Arcy Street in Toronto carries all the promise of a “clean cut“ — flat-top, military cut or shave with a straight-edge razor — fast and cheap. Inside Pat’s shop, there is more talcum powder than oxygen, and the mise en scène, consisting of yellowed walls, worn chairs and a hat rack, appears like a deteriorating illusion nesting among city hospitals, university buildings and trendy restaurants. It is precisely this incongruous setting of small-town coiffeur and modernist architecture that first attracted Bluemouth Inc., an interdisc

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24

Foulkes, Richard. "An Englishman Abroad Louis Calvert at the New Theatre, New York." Theatre Research International 18, no. 3 (1993): 177–85. http://dx.doi.org/10.1017/s0307883300017892.

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In November 1909 William Archer wrote an article for McClure's Magazine in which he surveyed developments in the American theatre over the past twenty years. The most innovative work had been undertaken by non-commercial companies, such as Victor Mapes' Chicago repertory and Winthrope Ames' Castle Square Theatre in Boston, and in the universities: ‘Brander Matthews at Columbia, W. L. Phelps at Yale, and George P. Baker at Harvard’. These ventures took as their models Antoine's Théâtre Libre in Paris; the Freie Bühne in Berlin; J. T. Grein's Independent Theatre, the Stage Society, Vedrenne-Bark

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Leroux, Louis Patrick. "Sarah Kane’s Crave in Montreal." Canadian Theatre Review 120 (September 2004): 93–96. http://dx.doi.org/10.3138/ctr.120.015.

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Monstrolls? Sarah Kane? Her earlier works were certainly shocking; they could be described as Artaudian, resolutely post-New Jacobean if one must (assuming th at one sees her as an inheritor of Bond and Barker), but monstrous? “Theatre of the Abject,” “Theatre of Extremes,” maybe. Compe ting ep ithe ts jostle to convey Kane’s challenging work; yet Crave defies these qualifiers. Her plays provoked with their violence, images and apparent lack of moral fibre, and critics had a field day reacting to her so-called “euro-cynicism.”

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26

Carlson, Susan. "Politicizing Harley Granville Barker: Suffragists and Shakespeare." New Theatre Quarterly 22, no. 2 (2006): 122–40. http://dx.doi.org/10.1017/s0266464x06000364.

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The importance of Granville Barker’s association with J. E. Vedrenne in the seminal Court seasons of 1904-1907 is one of the ‘givens’ of twentieth-century theatre history, as are Barker’s later, groundbreaking productions of Shakespeare at the Savoy. Yet these and much of his intervening work were also in many ways collaborative achievements, now in association with his wife, the actress Lillah McCarthy – their later divorce helping to rewrite the history of their partnership. Lillah McCarthy was also a prominent suffragist, and Granville Barker allied himself with many other men and women who

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Barker, Clive. "Closing Joan's Book: Some Personal Footnotes." New Theatre Quarterly 19, no. 2 (2003): 99–107. http://dx.doi.org/10.1017/s0266464x03000022.

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For many, the death of Joan Littlewood on 20 September 2002 at the age of 87 marked the end of a theatrical era – though in practice she had lived an increasingly reclusive life following her move to France and the death of her partner Gerry Raffles in 1975, interrupted only in 1994 by the publication of an autobiography, Joan's Book. Clive Barker, Co-Editor of NTQ, became a member of Littlewood's Theatre Workshop company in 1955, shortly after the change from a touring policy to a building-based company at the Theatre Royal, Stratford, had led to the departure of Ewan MacColl and others of th

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Favre, June. "Did Clive Barker Write The Hostage?" New Theatre Quarterly 23, no. 4 (2007): 326–30. http://dx.doi.org/10.1017/s0266464x07000243.

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Clive Barker often wrote about Joan Littlewood and his time at Theatre Workshop with a mixture of warmth and bewilderment at her unorthodox methods. While preparing her doctoral thesis, Text and Collaboration: an Examination of the Roles of Joan Littlewood and Theatre Workshop in the Genesis and Production of Brendan Behan's ‘The Hostage’, at the National University of Ireland, Galway, June Favre wrote to Clive praising the article ‘Closing Joan's Book: Some Personal Footnotes’ (NTQ, May 2003). As a result of that first letter, Clive and June began a correspondence – exchanging questions, note

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Curtin, Adrian. "Theatre of Catastrophe: New Essays on Howard Barker (review)." Theatre Journal 59, no. 1 (2007): 146–47. http://dx.doi.org/10.1353/tj.2007.0048.

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Barba, Eugenio, Christopher Cairns, and Judy Barba. "The Genesis of Theatre Anthropology." New Theatre Quarterly 10, no. 38 (1994): 167–73. http://dx.doi.org/10.1017/s0266464x00000324.

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This article – a chapter from The Paper Canoe: a Treatise on Theatre Anthropology, forthcoming from Routledge – was dedicated to NTQ's co-editor, Clive Barker, on his recent sixtieth birthday. In some senses, therefore, a reflection on the rite of passage into old age, it is more importantly a recognition of the quality and nature of experience understood – as applied to life and, in this case, to the profession of theatre. Eugenio Barba is the founder both of Odin Teatret and of ISTA, the International School of Theatre Anthropology, and here he links the impulses behind the two in highly per

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Poulter, Chrissie. "Playing with Pain: the Need for Guardianship in Group Work." New Theatre Quarterly 23, no. 4 (2007): 376–79. http://dx.doi.org/10.1017/s0266464x07000280.

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Chrissie Poulter read Drama and Theatre Arts at Birmingham University from 1973 to 1976, and was taught by Clive Barker during her first year there. Now a Lecturer at Trinity College Dublin, her specialism is theatre games, so their paths continued to cross over the years. As a theatre director, deviser, and trainer her work centres on the use of play within and without the theatre world, with a particular focus on inter- and intra-cultural exchange. Her book Playing the Game (Palgrave-Macmillan, 1987) is a widely used manual of theatre games. Her most recent creative projects have been as one

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Symposium, NTQ. "Theatre in Thatcher's Britain: Organizing the Opposition." New Theatre Quarterly 5, no. 18 (1989): 113–23. http://dx.doi.org/10.1017/s0266464x00003006.

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On 7 May 1988 a meeting was held at Goldsmiths' College, London, involving a number of theatre practitioners and academics on the left, to discuss the current state of British theatre under Thatcherism and suggest some possible responses. The meeting was organized by Vera Gottlieb, and NTQ Editor Simon Trussler, who both teach in the Drama Department at Goldsmiths' College. Also present were Clive Barker, Pam Brighton, Colin Chambers, Trevor Griffiths, Peter Holland, Kate Harwood, Albert Hunt, Nesta Jones, John McGrath, Paul Moriarty, Rob Ritchie, and Juliet Stevenson. Apologies for absence we

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Barker, Clive. "In Search of the Lost Mode: Improvisation and All That Jazz." New Theatre Quarterly 18, no. 1 (2002): 10–16. http://dx.doi.org/10.1017/s0266464x02000118.

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Years ago, NTQ co-editor Clive Barker was tantalized by a passing and lost reference on a radio programme to a source of inspiration for musicians of the Be Bop generation: this had showed them ‘a way forward by taking them away from music based on chords and riffs to music based on modes’. Can acting aspire to an analogous state to the improvisations of jazz musicians, in which spontaneity is modulated by the discipline of true respect for the ensemble? Drawing on his own experience as an actor with Theatre Workshop – whose orchestration came close to that of jazz – and on teaching actors to

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34

Hughes, Bethany. "Jesse Rae Archibald-Barber, Kathleen Irwin, and Moira J. Day, eds., Performing Turtle Island: Indigenous Theatre on the World Stage." Modern Drama 64, no. 1 (2021): 109–13. http://dx.doi.org/10.3138/md.64.1.br1.

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Performing Turtle Island curates experiences with and philosophies of Indigenous theatre. Critical Companion to Native American Theatre and Performance provides brief overviews of important events, artists, and organizations in North American Indigenous theatre. The former ranges in tone and topic; the latter is introductory and especially useful in undergraduate classrooms.

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Klotz, Günther. "Howard Barker: Paradigm of Postmodernism." New Theatre Quarterly 7, no. 25 (1991): 20–26. http://dx.doi.org/10.1017/s0266464x00005157.

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The plays of Howard Barker are probably more fervently admired and resolutely disliked than those of any other British dramatist of his generation. Although we have twice published interviews with the playwright about his life and work – first in the original Theatre Quarterly, TQ40 (1981), and more recently in NTQ8 (1986) – subsequent articles in NTQ have tended to be critical of his achievements: we are therefore pleased to present here a view of two of his latest plays, The Last Supper and The Bite of the Night, which, while recognizing precisely those qualities for which Barker has often b

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Burt, Philippa. "‘The Best Thing I Ever Did on the Stage’: Edward Gordon Craig and the Purcell Operatic Society." New Theatre Quarterly 38, no. 3 (2022): 258–69. http://dx.doi.org/10.1017/s0266464x22000185.

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Although lasting only two and a half years, Edward Gordon Craig’s engagement with the Purcell Operatic Society was his most consistent and productive period of work on the stage. This article re-examines this time during Craig’s life in order to ascertain why he saw it to be the zenith of his career. In particular, it analyzes his work with the amateur group to argue that it was foundational in the development of his approach to theatre-making and, further, helped him to introduce the entity of theatre director to Britain and what the role of such a person could be. By examining this material

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Burt, Philippa. "Granville Barker's Ensemble as a Model of Fabian Theatre." New Theatre Quarterly 28, no. 4 (2012): 307–24. http://dx.doi.org/10.1017/s0266464x12000619.

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While the dialogical relationship between the early twentieth-century British theatre and the rise of socialism is well documented, analysis has tended to focus on the role of the playwright in the dissemination of socialist ideas. As a contrast, in this article Philippa Burt examines the directorial work of Harley Granville Barker, arguing that his plans for a permanent ensemble company were rooted in his position as a member of the Fabian Society. With reference to Pierre Bourdieu's concept of habitus and Maria Shevtsova's development of it in reference to the theatre, this article identifie

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Wallis, Mick. "Unlocking the Secret Soul: Mary Kelly, Pioneer of Village Theatre." New Theatre Quarterly 16, no. 4 (2000): 347–58. http://dx.doi.org/10.1017/s0266464x00014093.

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Though little remembered or honoured today, Mary Kelly (1888–1951) was one of the more enlightened among those who, between the wars, encouraged the then-booming amateur theatre into attempting more than the limp reproduction of West End successes. She had a strong belief in the intrinsically dramatic potential of the country dweller, imbued with generations of traditional lore: but unlike many of her more nostalgic contemporaries, Mary Kelly well recognized the class conflicts and history of deprivation of the rural poor, and blended such elements into the pageants she devised not only for he

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Coakley, James. "Granville Barker and the Dream of Theatre by Dennis Kennedy." Comparative Drama 20, no. 4 (1986): 371–74. http://dx.doi.org/10.1353/cdr.1986.0000.

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40

Curtin, Adrian. "The art music of theatre: Howard Barker as sound designer." Studies in Theatre & Performance 32, no. 3 (2012): 269–84. http://dx.doi.org/10.1386/stap.32.3.269_1.

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Weiss, Rudolf. "Harley Granville Barker: the First English Chekhovian?" New Theatre Quarterly 14, no. 53 (1998): 53–62. http://dx.doi.org/10.1017/s0266464x00011738.

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Harley Granville Barker, the major innovator in the English theatre at the beginning of the present century, was long underestimated as a playwright, and misjudged as a mediocre imitator of Bernard Shaw. In more recent years major revivals of his plays, as well as new critical studies and editions, have witnessed a renewed interest in Barker as a dramatist, which, Rudolf Weiss here argues, testifies to the Chekhovian rather than the Shavian qualities of his plays. In the following article Weiss explores these qualities in the context of the early reception of Chekhov's plays in Britain, and on

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Barker, Howard. "Oppression, Resistance, and the Writer's Testament." New Theatre Quarterly 2, no. 8 (1986): 336–44. http://dx.doi.org/10.1017/s0266464x00002347.

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Of the generation of playwrights who began to write around 1968. Howard Barker came more belatedly than some to full critical recognition, but has emerged in recent years as a major voice in all the available dramatic media: thus, among his most recent work, Scenes from an Execution was for radio and The Blow for television, while The Castle was premiered by the RSC at The Pit in November 1985 – and last spring he contributed an updated final act of his own when adapting Middleton's Women Beware Women for production at the Royal Court. Malcolm Hay and Simon Trussler interviewed Howard Barker o

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Mangold, Alex. "Failure, Trauma, and the Theatre of Negativity: the New Tragic in Contemporary Theatre and Performance." New Theatre Quarterly 35, no. 1 (2019): 33–43. http://dx.doi.org/10.1017/s0266464x18000593.

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In this article, Alex Mangold identifies failure as a defining element of tragedy and argues that traditional understandings of the genre have been too narrow. Here, he asserts that tragic failure contributes to a tragic ‘mode’ that transcends genre definitions and, instead, extends to all kinds of contemporary theatre and performance. Examining a wide range of performance examples, including work from Sophocles to Sarah Kane, Forced Entertainment, Sasha Waltz, and Orlan, he argues that tragic failure, as it has come to be realized in examples of postdramatic writing and in site-specific or da

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Zien, Katherine. "Troubling Multiculturalisms: Staging Trans/National Identities in Teatro de Ciertos Habitantes's El gallo." Theatre Survey 55, no. 3 (2014): 343–61. http://dx.doi.org/10.1017/s0040557414000350.

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The collaborative “antiopera” El gallo: Ópera para actores (The Cock: An Opera for Actors), which was produced from 2007 to 2009 by Mexican theatre company Teatro de Ciertos Habitantes (hereafter referred to as Ciertos Habitantes) and British composer Paul Alan Barker, toured for three years to dozens of venues in Mexico and abroad, garnering numerous awards and accruing more than a hundred performances. Performed in speech/song gibberish, El gallo mingles physical theatre and butoh techniques. The piece chronicles the making of an opera, from auditions through rehearsals and performance, alon

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Midhin, Majeed Mohammed, and Ahmed Hameed Obeid. "An Analytical Study of Theatre and censorship in Howard Barker’s No End of Blame: Scenes of Overcoming (1981) and Scenes from an Execution (1984)." Dirasat: Human and Social Sciences 50, no. 6 (2023): 265–75. http://dx.doi.org/10.35516/hum.v50i6.7081.

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Objectives: This paper explores the use of history in contemporary British theatre to address issues like marginalization and censorship, focusing on Barker's theatre theory, which diverges from early works by Churchill and Hare. Emphasizing the artist's role and responsibilities, it delves into potential dilemmas faced in the realm of contemporary British theatre.  Methods: This study critically analyzes Barker's plays, "No End of Blame: Scenes of Overcoming" (1981) and "Scenes from an Execution" (1984), through the lens of his influential book, "Arguments for a Theatre." Additionally,

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Goodman, Lizbeth. "Performing in the Wishing Tense: SMARTlab's Evolution on Stage, Online, and in the Sand." New Theatre Quarterly 23, no. 4 (2007): 352–75. http://dx.doi.org/10.1017/s0266464x07000279.

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This paper evaluates the development of performative theories inspired by practice in the evolution of Lizbeth Goodman's research and SMARTlab's fifteen-year oeuvre. In this piece, Goodman outlines the methodology of ‘performing in the wishing tense’, analyzing the development of her own practice from television to live theatre to broadcast and multimedia to telematics and online learning ‘stages’, to radio, and then to web presence. As the subtitle of the article suggests, Goodman has evolved a methodology for her team that has been influenced by the work of one of her academic mentors, the l

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Trussler, Simon. "In Memoriam: Jan Kott, 1914–2001; John McGrath, 1935–2002." New Theatre Quarterly 18, no. 2 (2002): 99–100. http://dx.doi.org/10.1017/s0266464x02210180.

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Grieving:UNDER THE TITLE of ‘Old Friends’, Clive Barker mourned in the first issue of NTQ the passing of two men who, in very different ways, had devoted their lives to the service of the theatre – the American director Alan Schneider and the Scottish scholar who gave academic drama an international dimension, James Arnott. Both had been good friends and contributors to the old Theatre Quarterly.And now, two more old friends to mourn, yet whose lives and achievements must also be celebrated. Jan Kott died, after a long illness, on 22 December, at the age of eighty-seven. He was the only one of

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Barber, Stephen. "Corporeal Disintegration as Last-Gasp Vocal Act: the Final Works of Murobushi, Artaud, and Chéreau." New Theatre Quarterly 33, no. 2 (2017): 169–78. http://dx.doi.org/10.1017/s0266464x17000070.

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In this article Stephen Barber investigates performances that take the form of last works by their performers and specifically utilize the distinctive medium of last-gasp monologues which intimate imminent death or unconsciousness. He assesses three such final performances, across theatre and dance – by Ko Murobushi, Antonin Artaud, and Patrice Chéreau – arguing that such performances often engage in a combative manner with processes of representation, and are able to articulate strong currents of memory and anger, often in fragmentary form. These performances also appear prescient for theatri

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Gritzner, Karoline. "Tragedy, Immanence, and the Persistence of Semblance." Performance Philosophy 1, no. 1 (2015): 126. http://dx.doi.org/10.21476/pp.2015.119.

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The form of tragedy has been central to philosophical projects since classical antiquity, and it gained special critical import as a result of the so-called 'tragic turning within philosophy' during the Romantic period of German Idealism (see Beistegui 2000). The aim of this short paper is to address the notion of aesthetic appearance (semblance, Schein) within aesthetic theory (Theodor W. Adorno) and in contemporary tragic theatre (Howard Barker) and to show that the problem of semblance re-appears as a productive critical category in the current discourse of performance philosophy.

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Barba, Eugenio. "The Paradox of the Sea." New Theatre Quarterly 22, no. 2 (2006): 107–12. http://dx.doi.org/10.1017/s0266464x06000340.

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Eugenio Barba delivered this address when he received the title of Doctor Honoris Causa from the University of Plymouth on 27 October 2005. Eugenio Barba founded the Odin Teatret in Oslo in 1964, taking it to Holstebro in Denmark in 1966 where, ever since, he and his collaborators have explored and reinvented the vocal and corporeal possibilities of performance. In the speech which follows, he explores anew several images for the theatre that recur in his writings, notably Beyond the Floating Islands (1986, a new version of The Floating Islands, 1979) and The Paper Canoe (1994). Here they resu

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