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1
Rodosthenous, George. "“It’s All about Working with the Story!”: On Movement Direction in Musicals. An Interview with Lucy Hind." Arts 9, no. 2 (April 30, 2020): 56. http://dx.doi.org/10.3390/arts9020056.
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Lucy Hind is a South African choreographer and movement director who lives in the UK. Her training was in choreography, mime and physical theatre at Rhodes University, South Africa. After her studies, Hind performed with the celebrated First Physical Theatre Company. In the UK, she has worked as movement director and performer in theatres including the Almeida, Barbican, Bath Theatre Royal, Leeds Playhouse Lowry, Sheffield Crucible, The Old Vic and The Royal Exchange. Lucy is also an associate artist of the award-winning Slung Low theatre company, which specializes in making epic theatre in non-theatre spaces. Here, Lucy talks to George Rodosthenous about her movement direction on the award-winning musical Girl from the North Country (The Old Vic/West End/Toronto and recently seen on Broadway), which was described by New York Times critic Ben Brantley as “superb”. The conversation delves into Lucy’s working methods: the ways she works with actors, the importance of collaborative work and her approach to characterization. Hind believes that her work affects the overall “tone, the atmosphere and the shape of the show”.
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Buckland, Fiona. "Towards a Language of the Stage: the Work of DV8 Physical Theatre." New Theatre Quarterly 11, no. 44 (November 1995): 371–80. http://dx.doi.org/10.1017/s0266464x00009349.
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In the following article Fiona Buckland describes how the leading British experimental dance company, DV8 Physical Theatre, was formed out of a disillusionment with its own dance medium, and how DV8 now works towards a reinvestment of creative need in stage performance. The first part reviews the company's work, methodology, and content to date, while the second offers a detailed analysis and explication of their award-winning and provocative Dead Dreams of Monochrome Men (1988), which expresses the paradox of gay male cruising as a need for security and desire for risk, both in terms of content and as an exhilarating contact-release form. The article explores the dynamism and theatricality of a style in which the body is both subject and mode of performance, and also the media, critical, and audience response DV8 performances have evoked. The author, Fiona Buckland, received her MA in Film and Theatre from the University of Sheffield in 1993, after which she worked there and at Sheffield College as a part-time lecturer in movement and choreography. She has also held workshops in Loughborough, Sheffield, and New York, and is currently the recipient of a Fulbright award on the doctoral programme in Performance Studies at Tisch School of the Arts, New York University.
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Mahoney, Alison M. "Oily Cart's Space to Be: Exploring the Carer's Role in Sensory Theatre for Neurodiverse Audiences during COVID-19." Theatre Survey 62, no. 3 (August 23, 2021): 340–43. http://dx.doi.org/10.1017/s0040557421000260.
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Because sensory theatre productions are designed with neurodiverse audiences in mind, practitioners are first and foremost concerned with accessibility at all levels for their audience members, incorporating multiple senses throughout a performance to allow a variety of entry points for audiences that may have wildly divergent—and often competing—access needs. One-to-one interaction between performers and audience members results in highly flexible performances that respond to physical and auditory input from individual audience members, through which performers curate customized multisensory experiences that communicate the production's theatrical world to its audience. Given this reliance on close-up interaction, the circumstances surrounding the COVID-19 pandemic have posed a particular challenge for sensory theatre makers. In in-person sensory theatre, performers focus on neurodivergent audience members, with parents and paid carers often taking a (literal) back seat, but remotely delivered sensory theatre during COVID-19 hinges on the carer's facilitation of sensory engagement curated by sensory theatre practitioners. Oily Cart, a pioneering London-based sensory theatre company, responded to COVID-19 restrictions with a season of work presented in various formats in audiences’ homes, and their production Space to Be marked a shift in the company's audience engagement to include an emphasis on the carer's experience.1 Using this production as a case study, I argue that the pivotal role adopted by carers during the pandemic has the potential to shape future in-person productions, moving practitioners toward a more holistic, neurodiverse audience experience that challenges a disabled–nondisabled binary by embracing carers’ experiences alongside those of neurodivergent audience members.2
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Teale, Polly. "‘Distilling the Essence’: Working with Shared Experience." New Theatre Quarterly 31, no. 3 (July 9, 2015): 213–22. http://dx.doi.org/10.1017/s0266464x15000469.
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In this wide-ranging interview of 25 November 2014, Polly Teale, writer, director, and Artistic Director of UK-based Shared Experience theatre company, reflects on her stage adaptations of literary works, the lives of their authors, and the processes of adapting texts between genres. Founded in 1975 by Mike Alfreds, Shared Experience has toured internationally from Sydney to Beijing with highly physical stage adaptations of literary texts and biographies that express the inner lives of complex and fascinating characters. Teale discusses the adaptation of her play Brontë to a screenplay, Shared Experience’s upcoming production of Mermaid, and rehearsal strategies she uses to encourage actors to explore the subjective truths that lie beneath the surface of their characters. Besides Brontë, past productions have included Jane Eyre, The Mill on the Floss, and After Mrs Rochester. Shared Experience was recently awarded a £105,000 grant by the Andrew Lloyd Webber Foundation and has won several theatre awards including Time Out’s Live Award for Best Play in the West End (2004) and an Edinburgh Fringe First Award (2010). Rebecca Waese is a lecturer and researcher in Creative Arts and English at La Trobe University, Melbourne. She is co-writing a book on Polly Teale and has previously written on interdisciplinary adaptations and dramatic modes in Australian and Canadian literature.
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Knowles, Richard Paul. "Stratford's First Young Company." Theatre Research in Canada 11, no. 1 (January 1990): 3–28. http://dx.doi.org/10.3138/tric.11.1.3.
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The first so-called 'Young Company' at the Stratford Festival was founded in 1975 by the incoming Artistic Director, Robin Phillips. This essay describes the brief history of that loosely-defined company and analyses their productions of The Two Gentlemen of Verona and The Comedy of Errors in 1975 and of Hamletand The Tempest in 1976, the Festival's first productions of Shakespeare at the Avon Theatre.
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Bourne, Claire M. L., and Musa Gurnis. "Hamlet: The First Quarto by Taffety Punk Theatre Company." Shakespeare Bulletin 33, no. 4 (2015): 663–66. http://dx.doi.org/10.1353/shb.2015.0057.
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주현식. "The Performative Aesthetics in Theatre Company Momggol's and Sadari Movement Lab's Physical Theatre." Journal of Drama ll, no. 48 (February 2016): 339–71. http://dx.doi.org/10.15716/dr.2016..48.339.
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Anderson, Margot. "Dance Overview of the Australian Performing Arts Collection." Dance Research 38, no. 2 (November 2020): 149–67. http://dx.doi.org/10.3366/drs.2020.0305.
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The Dance Collection at Arts Centre Melbourne traces the history of dance in Australia from the late nineteenth century to today. The collection encompasses the work of many of Australia's major dance companies and individual performers whilst spanning a range of genres, from contemporary dance and ballet, to theatrical, modern, folk and social dance styles. The Dance Collection is part of the broader Australian Performing Arts Collection, which covers the five key areas of circus, dance, opera, music and theatre. In my overview of Arts Centre Melbourne's (ACM) Dance Collection, I will outline how the collection has grown and highlight the strengths and weaknesses associated with different methods of collecting. I will also identify major gaps in the archive and how we aim to fill these gaps and create a well-balanced and dynamic view of Australian dance history. Material relating to international touring artists and companies including Lola Montez, Adeline Genée, Anna Pavlova and the Ballet Russes de Monte Carlo provide an understanding of how early trends in dance performance have influenced our own traditions. Scrapbooks, photographs and items of costume provide glimpses into performances of some of the world's most famous dance performers and productions. As many of these scrapbooks were compiled by enthusiastic and appreciative audience members, they also record the emerging audience for dance, which placed Australia firmly on the touring schedule of many international performers in the early decades of the 20th century. The personal stories and early ambitions that led to the formation of our national companies are captured in collections relating to the history of the Borovansky Ballet, Ballet Guild, Bodenwieser Ballet, and the National Theatre Ballet. Costume and design are a predominant strength of these collections. Through them, we discover and appreciate the colour, texture and creative industry behind pivotal works that were among the first to explore Australian narratives through dance. These collections also tell stories of migration and reveal the diverse cultural roots that have helped shape the training of Australian dancers, choreographers and designers in both classical and contemporary dance styles. The development of an Australian repertoire and the role this has played in the growth of our dance culture is particularly well documented in collections assembled collaboratively with companies such as The Australian Ballet, Sydney Dance Company, and Chunky Move. These companies are at the forefront of dance in Australia and as they evolve and mature under respective artistic directors, we work closely with them to capture each era and the body of work that best illustrates their output through costumes, designs, photographs, programmes, posters and flyers. The stories that link these large, professional companies to a thriving local, contemporary dance community of small to medium professional artists here in Melbourne will also be told. In order to develop a well-balanced and dynamic view of Australian dance history, we are building the archive through meaningful collecting relationships with contemporary choreographers, dancers, designers, costume makers and audiences. I will conclude my overview with a discussion of the challenges of active collecting with limited physical storage and digital space and the difficulties we face when making this archive accessible through exhibitions and online in a dynamic, immersive and theatrical way.
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Lynde, Denyse. "Wolfeville's Mermaid Theatre: The First Fifteen Years." Theatre Research in Canada 9, no. 1 (January 1988): 81–93. http://dx.doi.org/10.3138/tric.9.1.81.
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This article is a historical overview of the first fifteen years of children's theatre in Wolfville, Nova Scotia, where the Mermaid Theatre was founded. Developing from a local to a major international company, the Mermaid has redefined its mandates and policies and undergone major personnel changes and shifts in repertory that have significant implications for Canadian drama in both a local and national context.
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Zarhy-Levo, Yael. "Joan Littlewood and Her Peculiar (Hi)story as Others Tell It." Theatre Survey 42, no. 2 (November 2001): 165–76. http://dx.doi.org/10.1017/s0040557401000084.
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The theatrical map in London during the 1960s consisted of four notable theatrical companies: the English Stage Company, the Royal Shakespeare Company, the National Theatre Company, and the Theatre Workshop. The first three companies, although somewhat transformed, fill major roles in British theatre to the present day. What happened to the fourth company, the Theatre Workshop? This question is all the more intriguing in light of the tribute current historical and critical accounts pay to the founder-director of this company, Joan Littlewood. Theatre critics and historians today view Littlewood as a major representative of radical theatre in the 1960s. Littlewood's position during her era, however, was quite a different story, and the tale of then versus the tale of now is a primer in theatre historiography. I will trace that tale in this essay by juxtaposing the diverse receptions she and her works have received during the past forty years.
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Usin, Léa V. "'A Local Habitation and a Name': Ottawa's Great Canadian Theatre Company." Theatre Research in Canada 7, no. 1 (January 1986): 71–90. http://dx.doi.org/10.3138/tric.7.1.71.
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The history of the Great Canadian Theatre Company of Ottawa is traced since its founding in 1975 by a group of students and teachers of Carleton University, Nationalist, leftist and populist in aim, the company was established by Bill Law (first Artistic Director), Greg Reid, Lois Shannon and Robin Matthews, whose play A Woman is Dying was their first inspiration. After a number of years without a base, the company built its own theatre in 1982. The article quotes extensively from the Members Handbook setting out the company's goals, the primary one being the presentation of Canadian plays by Canadian theatre practitioners. The theatre's political emphasis is compared with other theatre groups in the Ottawa area.
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Salvato, Nick. "“Ta daaaa”: Presenting Pig Iron Theatre Company." TDR/The Drama Review 54, no. 4 (December 2010): 206–23. http://dx.doi.org/10.1162/dram_a_00033.
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If the recent attention given to Pig Iron Theatre Company is any indication, 2010 may be the year of the pig. Although the group's founders met 20 years ago, it was their 2003 show James Joyce Is Dead and So Is Paris: The Lucia Joyce Cabaret and the 2010 production of Chekhov Lizardbrain that landed the Philadelphia group in the New York theatre scene. Pig Iron's abiding investment in adaptation's possibilities and continued commitment to physically intricate performance is now being passed on through their latest venture: a training program in physical theatre.
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Freeman, Sara. "Gay Sweatshop, Alternative Theatre, and Strategies for New Writing." New Theatre Quarterly 30, no. 2 (May 2014): 136–53. http://dx.doi.org/10.1017/s0266464x14000256.
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Gay Sweatshop spent twenty-two years producing plays as Britain's first openly gay professional theatre company. Their alternative and political work primarily took the form of author-driven new writing, though experiments with performer-driven work intrigued the company from its earliest cabarets to its late phase of queer solo work under Lois Weaver. In this article, Sara Freeman pinpoints Sweatshop's tenth anniversary new play festival in 1985 as the moment when the company committed to new writing as a strategy for gaining greater legitimacy as a theatre group and as a central mode to encourage gay and lesbian voices and representation. She argues that while this had been the default mode of much 1970s political theatre including Sweatshop's, as it played out in the 1980s, a new writing strategy represented a move toward institutional stability as the locus of theatrical radicalism shifted aesthetics. In this analysis, the celebration of company anniversaries and the creation of festival events provided occasions for the company to experience the success or failure of its policies. Freeman is Assistant Professor of Theatre Arts at the University of Puget Sound. She is the co-editor of Public Theatres and Theatre Publics (2012) and International Dramaturgy: Translation and Transformations in the Theatre of Timberlake Wertenbaker (2008). Her recent publications appear in Modern British Playwriting: the 1980s. Readings in Performance and Ecology, and the forthcoming volume The British Theatre Company from Fringe to Mainstream: Volume II 1980–1994.
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Gallasch, Keith. "Promise and Participation: Youth Theatre in Australia." New Theatre Quarterly 2, no. 5 (February 1986): 90–93. http://dx.doi.org/10.1017/s0266464x00001950.
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If theatre-in-education achieved its impact by taking theatre to the young in the 'seventies, then the developing youth theatre movement might be seen as part of the reaction to that initiative in the 'eighties. Here Keith Gallasch, artistic director of the State Theatre Company in South Australia, himself a writer, recalls his first involvement with youth theatre, and goes on to sketch some of its dilemmas and prospects.
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Birksted-Breen, Noah. "Russian Theatre Festival at the Soho." New Theatre Quarterly 26, no. 3 (August 2010): 296–98. http://dx.doi.org/10.1017/s0266464x10000503.
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As Noah Birksted-Breen, founder of Sputnik Theatre Company (noah@sputniktheatre.co.uk), starts planning the second Russian Theatre Festival in mid-2011, he looks back on why he founded the festival, what to look out for in new Russian drama, why he chose this year's plays, and what comes next. The first festival was held at the Soho Theatre, London, 1–4 February 2010.
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Linder, Eva-Liisa. "How Theatre Develops Democracy." Nordic Theatre Studies 25, no. 1 (November 15, 2018): 84–96. http://dx.doi.org/10.7146/nts.v25i1.110900.
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Twenty years after regaining its independence, Estonia is proud of its economic record, but faces challenges concerning the development of democracy. Into this situation, a small theatre company, Theatre NO99, led by stage director Tiit Ojasoo, has recently introduced a new style of postdramatic political theatre that raises questions about capitalism, civil society, racism, nationalism, the energy crisis and other sensitive issues. Furthermore, the company’s European tours and collaborations with German and British companies have brought European debates to the Estonian stage. Recently, however, NO99 came up with two unparalleled and overtly political ‘one time actions’. In 2010, Unified Estonia, a fictitious political movement, exposed the populism of the leading parties and drew 7200 people to its ‘convention’, thus making it one of the largest theatre events in modern European theatre history. Two years later, NO99 staged a ‘first reading’ of a semi-documentary play about a funding scandal that engulfed the prime minister’s party, thereby contributing to provoke a series of civic and political events. This case study looks at how the theatre company has introduced itself as a morally sensitive institution (in the spirit of the German Enlightenment) and helped spark debates about national and democratic values in Estonia.
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Linder, Eva-Liisa. "How Theatre Develops Democracy." Nordic Theatre Studies 25, no. 1 (November 15, 2018): 84–96. http://dx.doi.org/10.7146/nts.v25i1.110900.
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Twenty years after regaining its independence, Estonia is proud of its economic record, but faces challenges concerning the development of democracy. Into this situation, a small theatre company, Theatre NO99, led by stage director Tiit Ojasoo, has recently introduced a new style of postdramatic political theatre that raises questions about capitalism, civil society, racism, nationalism, the energy crisis and other sensitive issues. Furthermore, the company’s European tours and collaborations with German and British companies have brought European debates to the Estonian stage. Recently, however, NO99 came up with two unparalleled and overtly political ‘one time actions’. In 2010, Unified Estonia, a fictitious political movement, exposed the populism of the leading parties and drew 7200 people to its ‘convention’, thus making it one of the largest theatre events in modern European theatre history. Two years later, NO99 staged a ‘first reading’ of a semi-documentary play about a funding scandal that engulfed the prime minister’s party, thereby contributing to provoke a series of civic and political events. This case study looks at how the theatre company has introduced itself as a morally sensitive institution (in the spirit of the German Enlightenment) and helped spark debates about national and democratic values in Estonia.
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HAUPTFLEISCH, TEMPLE. "Tipping Points in the History of Academic Theatre and Performance Studies in South Africa." Theatre Research International 35, no. 3 (October 2010): 275–87. http://dx.doi.org/10.1017/s0307883310000581.
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This article considers five tipping points or phases in the development of modern theatre studies in South Africa. It begins with the period from 1925 to 1935, a time when the first major theatre history appeared, a fully fledged (Western) theatre system was established and the African theatre tradition was recognized. It details 1945 to 1962 for the establishment of a coherent professional theatre system, the first state-funded theatre company and the first drama departments. Thereafter, 1970 to 1985 is identified as the most significant period in relation to the political struggle for liberation in South Africa, while the last two phases (1988–94 and 1997–9) under consideration are characterized by an increase in research output and by the need for practitioners and commentators to seek reconciliation and healing through theatre and performance.
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Woodhouse, Fionn. "A Passion for the Arts." Scenario: A Journal of Performative Teaching, Learning, Research XI, no. 2 (July 1, 2017): 92–93. http://dx.doi.org/10.33178/scenario.11.2.6.
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I first met Stefanie Preissner when she signed up as a volunteer leader with Lightbulb Youth Theatre in Mallow, Cork. Having recently begun a BA in Drama and Theatre Studies in University College Cork, Stefanie had the interest in the work that allowed her to quickly become integral to Lightbulb, facilitating workshops and directing performances. We established a good working relationship, devising, writing and directing within the youth theatre before forming our own theatre company, ‘With an F Productions’, allowing us to take on different projects. Stefanie’s move to Dublin, after graduating from Drama and Theatre Studies, allowed her to develop her playwriting skills leading to the writing of ‘Solpadine is My Boyfriend’. This play was subsequently produced by the company enjoying a sell-out run in Dublin before touring internationally to Bucharest, Edinburgh and Australia, and – as a radio play – becoming RTE’s most downloaded podcast. Stefanie has gone on to write for RTE, with the successful series ‘Can’t Cope, Won’t Cope’ now in its second season and is also writing for Channel 4 in the UK and First Look Media in the US. Last year, I hosted Stefanie in the renamed ‘Department of Theatre’ to talk with students ...
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Aston, Elaine, and Janelle Reinelt. "Building Bridges: Life on Dunbar's Arbor, Past and Present." Theatre Research International 26, no. 3 (October 2001): 285–93. http://dx.doi.org/10.1017/s0307883301000360.
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Rita, Sue and Bob Too by Andrea Dunbar and A State Affair, by Robin Soans. Co-production Out of Joint, Liverpool Everyman and Playhouse, and Soho Theatre Company. Double bill first performed at Liverpool Everyman on 19 October 2000 and Soho Theatre, London on 5 December 2000.
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Brown, John Russell. "Jatra Theatre and Elizabethan Dramaturgy." New Theatre Quarterly 10, no. 40 (November 1994): 331–47. http://dx.doi.org/10.1017/s0266464x00000889.
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I could not have written this essay without the help of friends and counsellors in Calcutta, Bhubaneswar, and Puri. They listened carefully to my questions and took time to help me appreciate what I was encountering for the first time on stage and in life around me. This indebtedness makes this essay a fitting contribution to an issue in honour of Jan Kott, for he has offered encouragement of the same kind on many occasions. First I had read his Shakespeare Our Contemporary, and then I was able to enjoy his company, at Brighton, Vancouver, and for over two years at Stony Brook, Long Island. He helped me to think adventurously and showed me how to be watchful. I owe him a great debt and this essay is offered in token of my gratitude, pleasure, and admiration.
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Klein, Stacy. "On Double Edge Theatre." New Theatre Quarterly 27, no. 1 (February 2011): 41–59. http://dx.doi.org/10.1017/s0266464x11000042.
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Founded in Boston by Stacy Klein in 1982, initially as a women's theatre, Double Edge moved to Ashfield in Massachusetts in 1997 to the rural complex now known as the Farm Center. The Farm comprises rehearsal rooms, living quarters, technical workshops, an ante-room to welcome and dine spectators, a magnificent loft-like performance space, and acres of land with trees and a pond. The whole is set against a soft New England landscape, and the Farm's grounds are the almost idyllic environment for the summer promenade spectacles that, like its more formal productions indoors, provide a focus for locals, sustaining their sense of community and even the myth of community nurtured historically in these parts. In this conversation of 13 and 14 November 2009 (which was extended in August 2010 after The Firebird, the summer spectacle of that year), Stacy Klein discusses how local people support Double Edge and otherwise form a long-term relationship with the company, now visited by spectators as well as practitioners from further afield – Klein's Polish teachers and mentors among them. Double Edge is a devising company, working with improvisation and free association to form strong visual imagery through pronounced physical movement, which also involves circus skills. This, together with a frequently startling use of objects, is the basis of their magical realism (notably in the unPOSSESSED of 2004, after Don Quixote), a style developed by the company in its rural retreat, and subsequently combined with the tonalities of grotesque surrealism. The Republic of Dreams, for instance, inspired by the life and work of Bruno Schulz, enters the world of vivid dreams, powerful memories, and nostalgic echoes, the whole evoking an evanescent past into which its agile, versatile performers – some singing, some dancing – tune in, like ghosts absent and present in one and the same instance. The two productions noted here are part of what Klein calls a ‘Cycle’ – a grouping of works that have evolved over a number of years as separate pieces, some beginning life as a summer show before they grow and link with the other pieces of a given Cycle, which is almost always a trilogy. Gradual, consistent development is key to the company's work, as is its belief in a distinct company ethos, which its trainees are invited to share. Maria Shevtsova, who enjoyed the Farm's hospitality when she talked with Stacy Klein, holds the Chair in Drama and Theatre Arts at Goldsmiths, University of London, and is the co-editor of New Theatre Quarterly.
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Kiernander, Adrian. "The Théâtre du Soleil, Part One: a Brief History of the Company." New Theatre Quarterly 2, no. 7 (August 1986): 195–203. http://dx.doi.org/10.1017/s0266464x00002153.
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In spite of the international acclaim for its spectacular productions of the early 'seventies, the Théâtre du Soleil has generally received less than adequate attention in English-language theatre journals. The original series of Theatre Quarterly included a lengthy interview with its leading member, Ariane Mnouchkine, focused upon its then-current production, L'Age d'or, in TQ18 (1975), and we now bring the story up to date – first, with a survey of the company's earlier work and its distinctive qualities by Adrian Kiernander, who recently spent a year with the Théâtre du Soleil on a French government scholarship, between working as a freelance director and his present position teaching theatre studies in the University of Queensland. Two complementary studies of the company's most recent production follow. In the first, Adrian Kiernander places The Terrible but Unfinished History of Norodom Sihanouk, King of Cambodia, within the context of his preceding analysis. In the second, David Graver, a doctoral candidate in the Department of Comparative Literature at Cornell University, and presently a Visiting Scholar at Clare Hall, Cambridge, describes and assesses the nature and qualities of the script by Hélène Cixous, as realized in the production.
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Čiripová, Dáša. "Play as Art of Survival." Slovenske divadlo /The Slovak Theatre 66, no. 3 (September 1, 2018): 296–310. http://dx.doi.org/10.2478/sd-2018-0018.
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Abstract The study explores the art of performance and happening in Slovakia from the 1960s, and its influence on theatre. Given its interdisciplinarity, the first part is dedicated to the vantage points of performance in Slovakia: action art and related names. Action art had significant influence on later theatre performative forms. The second part focuses in detail on actions and performances by the company Temporary Society of Intense Experience, Balvan Theatre and on the artist Miloš Karásek.
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Hauptfleisch, Temple. "The Company You Keep: Subversive Thoughts on the Impact of the Playwright and the Performer." New Theatre Quarterly 11, no. 44 (November 1995): 322–32. http://dx.doi.org/10.1017/s0266464x00009301.
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This article explores the much-debated question of the political impact or potential of theatre from a new angle. Accepting frankly the limitations of a medium which seldom reaches more than four per cent of the population, Temple Hauptfleisch looks instead at the contingent ways in which influence works – creating ‘images’ of authors, performers, venues, companies, and even of specific occasions which work upon audiences and non-audiences alike. The ideas explored in this article were first proposed in a paper read at a colloquium on ‘The Semiotics of Political Transition’, held at the Port Elizabeth Campus of Vista University in August, 1992: although most of the author's examples are thus from the theatre world of South Africa, the major thrust of his argument holds equally well for any contemporary westernized, media-dominated society. Temple Hauptfleisch is Associate Professor of Drama and Head of Theatre Research at the University of Stellenbosch, South Africa. He is co-editor of the South African Theatre Journal and has published widely on the history and theory of South African theatre.
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Cousin, Geraldine. "From Travelling with Footsbarn to ‘Wandertheater’ with Ton und Kirschen." New Theatre Quarterly 14, no. 56 (November 1998): 299–310. http://dx.doi.org/10.1017/s0266464x00012380.
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The first issue of NTQ in February 1985 included a feature on the Footsbarn Travelling Theatre Company which traced the development of the group from its formation in Cornwall in 1971, through its development of a distinctive narrative-based performance style – strong in physicality, visual imagery, and knockabout humour – to its status as an internationally acclaimed company, based now in France but touring extensively in Europe. Geraldine Cousin, the compiler of that feature, provided an update in NTQ33 (February 1993), which focused on Footsbarn's work since 1985, culminating in the ‘Mir Caravan’ project, in which eight theatre groups toured to the Soviet Union and through Eastern and Western Europe. In May 1992, two members of the group, David Johnston and Margarete Biereye, left to establish a new theatre company in Germany – the Wandertheater Ton und Kirschen, now well established, with actors drawn from Germany, France, England, Morocco, Spain, Colombia, Poland, and Australia. Though based in a small German village, Ton und Kirschen has built up its reputation in a number of European countries, and in 1998 was awarded the prize for Performing Arts from the Akademie der Künste, Berlin. Ton und Kirschen is funded partly by the Ministerium für Wissenschaft, and partly by the local district and the town of Potsdam, with a further portion of its income deriving from ticket sales and foreign tours. In December 1997 Margarete and David talked to Geraldine Cousin about their reasons for leaving Footsbarn, and their work with the new company. Geraldine Cousin is Senior Lecturer in Theatre Studies at the University of Warwick, and is author of Churchill the Playwright (Methuen), King John in the ‘Shakespeare in Performance’ series (Manchester University Press), and Women in Dramatic Place and Time (Routledge). She has recently completed a book for Harwood which documents productions by Sphinx Theatre, Scarlet Theatre, and Foursight Theatre.
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Mackenzie, Rowan. "‘Study Is Like the Heaven’s Glorious Sun’—Learning through Shakespeare for Men Convicted of Sexual Offences." Humanities 10, no. 1 (January 18, 2021): 16. http://dx.doi.org/10.3390/h10010016.
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Emergency Shakespeare is a collaboratively owned theatre company based in an English prison for men convicted of sexual offences. It is the first permanent theatre company of its kind with this population. This article explores the ways in which Shakespeare is used as a way of developing transferable skills such as self-confidence, resilience, teamwork and negotiation with a group of people whom society will stigmatise for their convictions. Constructivist educational methodologies are employed by the Artistic Director to encourage those involved to develop their own sense of autonomy and ownership of the artistic work created.
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Franklyn, Susan, Fiona Thompson, and James Lamb. "Resurgence Theatre Company: the presentation of Differentia at the First National Personality Disorder Congress." Mental Health Review Journal 15, no. 4 (December 14, 2010): 26–28. http://dx.doi.org/10.5042/mhrj.2010.0735.
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Budden, Julian. "The genesis and literary source of Giacomo Puccini's first opera." Cambridge Opera Journal 1, no. 1 (March 1989): 79–85. http://dx.doi.org/10.1017/s0954586700002779.
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All Puccini's biographers tell the story of how the eighteen-year-old composer, in the company of two friends, walked the nineteen miles from Lucca to Pisa to hear Verdi's latest opera, Aida; and how the impact of that opera – the first that he had ever seen performed – was such that he determined from that moment on to make a career as a composer for the theatre.
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Hughes, Eamcnn. "‘To Define Your Dissent’: The Plays and Polemics of the Field Day Theatre Company." Theatre Research International 15, no. 1 (1990): 67–77. http://dx.doi.org/10.1017/s0307883300009536.
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The Field Day Theatre Company was founded in 1980 by Stephen Rea, the actor, and Brian Friel, the playwright, at the former's suggestion. The combination of a playwright and an actor in the founding of a theatre in response to a crisis which is both cultural and political recalls the Irish National Theatre Society and the founders of Field Day were conscious that such parallels would be drawn. For both Friel and Rea, the only available models were the Irish Literary Theatre and the Ulster Literary Theatre. The differences between Field Day and other such ventures are however as instructive as the parallels. The Irish National Theatre Society and the Abbey were always Yeats's project; his plays, his theories on drama and speech, and his cultural politics were the informing elements in the development of the theatre. Field Day's founders, however, quickly took on four other fellow-directors – Seamus Deane, Seamus Heaney, David Hammond and Tom Paulin – for just as the Abbey had had Beltaine, Samhain, and The Arrow so Field Day has had its pamphlets and other non-theatrical projects, although in the case of Field Day, these are once again open to contributors from outside the company. The purpose of the pamphlets has been to re-examine the various pieties of Irish cultural life in this past century. In its short history Field Day has already attracted widespread attention, but the time seems right for a stock-taking since by the end of 1988 the company will have reached a plateau of sorts in its development. Since 1980 it has produced eight plays, twelve pamphlets, and one volume of poetry, not to mention the work its directors have produced outside the confines of the company; this work places Field Day at the centre of Irish cultural debate. 1988 saw the production of a new play by Friel, Making History – his first for Field Day since The Communication Cord (1982) – the publication of another set of pamphlets, which for the first time were by non-Irish critics – Terry Eagleton, Frederic Jameson, and Edward Said – and preparations for its anthology of Irish writing. The completion of these three projects should consolidate the company's position.
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Gras, Henk, and Philip Hams Franses. "Theatre-going in Rotterdam, 1802–1853. A Statistical Analysis of Ticket Sales." Theatre Survey 39, no. 2 (November 1998): 73–97. http://dx.doi.org/10.1017/s0040557400010152.
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Today, Rotterdam is best known as the largest port in the world. Around 1800, although the second city in the Dutch Republic, it was still a minor trade centre. A group of its merchants built a standing theatre in 1773, which was sold in 1851 and largely demolished in 1853. The very rich archives of the stock-holders' company, which exploited this theatre, permit us an insight into the patterns of theatre-going in the first half of the nineteenth century, and the record helps test the common conjecture about the decline of the theatre in those decades.
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Stites, Richard. "Trial as Theatre in the Russian Revolution." Theatre Research International 23, no. 1 (1998): 7–13. http://dx.doi.org/10.1017/s0307883300018162.
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In an extraordinary passage of The Mind and Face of Bolshevism, the Hungarian journalist and philosopher, René Fueloep-Miller, made this observation in the 1920s on the innate theatricality of the Russian people:If a Russian recounts an incident in company, in his political club, or even in the street, he does not for long confine himself to verbal description. Suddenly, he sends a gesture into space, like an arrow from a bow, at the same time giving a cue to another in the circle, who immediately becomes an actor in the drama. Though at first the whole thing looks like a very excited discussion, soon many emphatic gestures and words creep in and an increasing number of bystanders begin to take part in the scene. Suddenly the recital takes living form: chairs and tables are shifted with a few touches, and soon stand in a particular relation to each other and to the events being enacted. Men and things are now subject to new and different laws. Those taking no part look on in astonishment and soon become an audience, just as the story, which was at first merely related, becomes reality and attains complete actuality in the people acting and the improvised scenery … This lasts as long as the anecdote enacted, then the company at once returns to ordinary life … and the members of the circle sit smoking and talking again in their former quiet tones as if nothing had happened.
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Iezzi, Julie A. "The Theatre of Suzuki Tadashi." Theatre Survey 47, no. 1 (April 13, 2006): 150–51. http://dx.doi.org/10.1017/s0040557406390096.
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Suzuki Tadashi is arguably Japan's best known and most influential contemporary director, and this long-awaited comprehensive study presents a complete picture of his work to date. An eleven-page detailed production chronology at the beginning of the book lists everything from Suzuki's first production at the Waseda Free Stage (Jiyū Butai) Drama Society in 1959, through his opera Vision of Lear for the Third International Theatre Olympics in Moscow in 2001. This who-what-when-where chronological reference allows one to map quickly the arc of Suzuki's career, from his work as a director in Japan and his rise to international recognition in the 1970s, through his roles as International Festival coordinator and actor trainer, to his artistic directorships at the Acting Company Mito (ACM) and later Shizuoka Performing Arts Center (SPAC) in the 1990s.
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Till, Nicholas. "‘First-Class Evening Entertainments’: Spectacle and Social Control in a Mid-Victorian Music Hall." New Theatre Quarterly 20, no. 1 (January 5, 2004): 3–18. http://dx.doi.org/10.1017/s0266464x03000289.
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First-Class Evening Entertainments was the title given to a variety programme presented at Hoxton Hall in East London when it first opened in 1863. In 2000 Nicholas Till and Kandis Cook were commissioned by Hoxton Hall and the English National Opera Studio to make a new music theatre piece for the Hall, which led to an investigation of the content and context of the original programme. In the following article Nicholas Till offers a reading of the 1863 programme as an example of the mid-Victorian project to exercise social control over the urban working classes. Nicholas Till is Senior Lecturer in Theatre at Wimbledon School of Art, and co-artistic director of the experimental music theatre company Post-Operative Productions. He is the author of Mozart and the Enlightenment: Truth, Virtue, and Beauty in Mozart's Operas (Faber, 1992), and is currently editing The Cambridge Companion to Opera.
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McGrath, John. "Theatre and Democracy." New Theatre Quarterly 18, no. 2 (May 2002): 133–39. http://dx.doi.org/10.1017/s0266464x02000222.
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John McGrath died from leukaemia in January 2002, having put the final touches to his last book, Naked Thoughts That Roam About: Reflections on Theatre, 1958–2001, edited by Nadine Holdsworth (Nick Hern Books, 2002). The following article forms the conclusion to this collection of essays, lectures, interviews, theatre reviews, 7:84 company documents, programme notes, letters, and poems, for which McGrath provides a contextualizing commentary. Like the other pieces in the book, it testifies to McGrath's faith in theatre's ability to contribute to humanity through its engagement with people, communities, and political processes – a commitment he maintained and developed to the end of his life. In ‘Theatre and Democracy’ he drew on the work of the Greek philosopher Cornelius Castoriadis to frame his hopes for theatre in the twenty-first century – a theatre which would operate in public dialectical debate with the society from which it evolves, and, by asking hard questions about the social processes that construct that society, provide a voice for oppositional opinion and the marginalized. The essay was reworked from a keynote address to the ‘European Theatre, Justice, and Morality’ conference held at the University of London in June 1999, and in its earlier form appeared in the conference proceedings, published as Morality and Justice: the Challenge of European Theatre, edited by Edward Batley and David Bradby (Rodopi, 2001).
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Urban, Ken. "Towards a Theory of Cruel Britannia: Coolness, Cruelty, and the 'Nineties." New Theatre Quarterly 20, no. 4 (October 25, 2004): 354–72. http://dx.doi.org/10.1017/s0266464x04000247.
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The explosion of ‘in-yer-face’ theatre that dominated the British stage in the 'nineties has had both vocal champions and detractors. Here, Ken Urban examines the emergence of this kind of theatre within the cultural context of ‘cool Britannia’ and suggests that the plays of writers such as Mark Ravenhill and Sarah Kane explore the possibilities of cruelty and nihilism as a means of countering cynicism and challenging mainstream morality's interpretation of the world. Ken Urban is a playwright and director, whose plays The Female Terrorist Project and I [hearts] KANT are currently being produced by the Committee Theatre Company in New York City. His play about the first US Secretary of Defense, The Absence of Weather, will premiere in Los Angeles at Moving Arts Theatre Company, which has named it the winner of its national new play award. At the request of the Sarah Kane Estate, Urban directed the New York premiere of her play Cleansed. He teaches Modern Drama and Creative Writing in the English Department at Rutgers University, New Brunswick. An early version of this article was first presented at the ‘In-Yer-Face? British Drama in the 1990s’ conference at the University of the West of England, Bristol, in September 2002.
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Howard, Tony, and Piotr Kuhiwczak. "Empty Stages: Teatr Provisorium and the Polish Alternative Theatre." New Theatre Quarterly 3, no. 11 (August 1987): 258–72. http://dx.doi.org/10.1017/s0266464x00015244.
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In Autumn 1986 Teatr Provisorium from eastern Poland became the latest of the radical groups from that country to visit Britain after an imposed absence. Like the pioneering Teatr Osmego Dnia a year earlier (featured in NTQ8), they came through the support of the Chapter Arts Centre. Cardiff, the Brith Gof Theatre from Aberystwyth. and contacts at Warwick University. Shortly after their previous English performances at the first LIFT festival, most of the company were imprisoned under martial law – what Poles call ‘the War State’ – and one of their company left Poland for good shortly after his release. In the Spring of 1986 they were officially downgraded to the status of unpaid amateurs in an effort to reduce their output. But the company's director. Janusz Oprynski, believes that their work has not changed fundamentally since its foundation: ‘The theatrical space has not changed; nor has our way of creating a theatrical reality. The most important thing is that drama gives us a possibility of transposing personal experience into the language of theatre and this is perhaps – it should be – the most interesting part of theatre work’. In this composite piece, the full context is provided by the whole company in discussion with Tony Howard, who also describes their most recent productions, and finally Piotr Kuhiwczak, a Warsaw lecturer and essayist, speaks with Janusz Oprynski shortly after his arrival in Britain. The translation is by Barbara Plebanek.
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Bowers, Rick. "John Lowin: Actor-Manager of the King's Company, 1630–1642." Theatre Survey 28, no. 1 (May 1987): 15–35. http://dx.doi.org/10.1017/s0040557400008954.
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The most prominent names associated with the King's Company in the first half of the seventeenth century include Shakespeare, Burbage, Heminges and Condell. Yet John Lowin, one of the “Principall Actors” listed in the Heminges and Condell First Folio of Shakespeare and a leading performer for over half a century, rarely rates more than a mention. According to theatre historian G.E. Bentley, Lowin “was, of course, one of the most important Jacobean and Caroline actors”; and it is the use of the phrase “of course,” that apology for stating the obvious, along with a scarcity of biographical fact that combine to obscure Lowin's reputation so tantalizingly.
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Ley, Graham. "Diaspora Space, the Regions, and British Asian Theatre." New Theatre Quarterly 27, no. 3 (August 2011): 215–28. http://dx.doi.org/10.1017/s0266464x11000431.
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In 1996 Graham Ley compiled for NTQ a record of the first twenty years of Tara Arts, the London-based British Asian theatre company. In this essay, he tests the theoretical concept of a third space for diaspora culture against the experience of two leading British Asian theatre companies, and considers the contrasting role of an Asian arts centre. From 2004 to 2009 Graham Ley led an AHRC-funded research project on ‘British Asian Theatre: Documentation and Critical History’, and has co-edited with Sarah Dadswell two books soon to be published by the University of Exeter Press: British South Asian Theatres: a Documented History and Critical Essays on British South Asian Theatre. He has earlier published in NTQ on Australian theatre and enlightenment and contemporary performance theory, and is presently Professor of Drama and Theory at the University of Exeter.
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King, Richard G., and Saskia Willaert. "Giovanni Francesco Crosa and the First Italian Comic Operas in London, Brussels and Amsterdam, 1748–50." Journal of the Royal Musical Association 118, no. 2 (1993): 246–75. http://dx.doi.org/10.1093/jrma/118.2.246.
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In the autumn of 1748 the opera audience in London was introduced to a newly arrived troupe of Italian singers, an eccentric impresario and an operatic genre previously unknown in England. The buffo company, led by ‘Doctor’ Giovanni Francesco Crosa, would entertain the King's Theatre public for the first time with full-length Italian comic operas. In May 1750, after two tumultuous seasons which saw the gradual dissolution of the troupe and financial disaster for the management, Crosa fled the country, never to return. The King's Theatre closed its doors, to reopen only in the autumn of 1753 with a programme devoted exclusively to serious opera. It was not until 1766, when Piccini's La buona figliuola conquered the London opera stage, that Italian comic opera found real success at the King's.
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King, Barnaby. "Landscapes of Fact and Fiction: Asian Theatre Arts in Britain." New Theatre Quarterly 16, no. 1 (February 2000): 26–33. http://dx.doi.org/10.1017/s0266464x00013439.
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In the first of two essays which use academic discourses of cultural exchange to examine the intra-cultural situation in contemporary British society, Barnaby King analyzes the relationship between Black arts and mainstream arts on both a professional and community level, focusing on particular examples of practice in the Leeds and Kirklees region in which he lives and works. This first essay looks specifically at the Asian situation, reviewing the history of Arts Council policy on ethnic minority arts, and analyzing how this has shaped – and is reflected in – current practice. In the context of professional theatre, he uses the examples of the Tara and Tamasha companies, then explores the work of CHOL Theatre in Huddersfield as exemplifying multi-cultural work in the community. He also looks at the provision made by Yorkshire and Humberside Arts for the cultural needs of their Asian populations. In the second essay, to appear in NTQ62, he will be taking a similar approach towards African-Caribbean theatre in Britain. Barnaby King is a theatre practitioner based in Leeds, who completed his postgraduate studies at the University of Leeds Workshop Theatre in 1998. He is now working with theatre companies and small-scale venues – currently the Blah Blah Blah company and the Studio Theatre at Leeds Metropolitan University – to develop community participation in theatre and drama-based activities.
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Verma, Jatinder. "The Generations of the Diaspora and Multiculturalism in Britain." New Theatre Quarterly 25, no. 3 (August 2009): 203–23. http://dx.doi.org/10.1017/s0266464x09000396.
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Jatinder Verma founded Tara Arts in 1977 as a British-Asian company, the first of its kind in Britain. Its use of ‘Binglish’, a term coined by Verma to define the English of speakers belonging to the diaspora of the Indian subcontinent, is an integral part of Tara's identity, as he discussed in his commentary in NTQ52 (1997). This new interview, conducted in July 2008 and February 2009, focuses on issues to do with multiculturalism, engaging Verma in an in-depth discussion of this problematic and increasingly contested area and leading him to outline the artistic pursuits of his company. Special attention is given to the working processes of the Journey to the West trilogy (2002) and to the aesthetic principles driving it, which extend to other productions he has directed for Tara Arts, not least to his more recent transpositions of Ibsen and Shakespeare. A complete chronology of productions can be found on the Tara Arts webpage, www.tara-arts.com. The first part of this interview was published in Maria Shevtsova's Sociology of Theatre and Performance (Verona: QuiEdit, 2009), p. 359–71. She is Professor of Drama and Theatre Arts at Goldsmiths, University of London, and co-editor of New Theatre Quarterly.
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Öğünç, Banu. "Political Theatre in the Age of Brexit: The State of Nation in Monologues." American, British and Canadian Studies 33, no. 1 (December 1, 2019): 171–88. http://dx.doi.org/10.2478/abcsj-2019-0021.
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AbstractOn the British stage, political theatre, which emerged in the twentieth century, has been linked with the problems of the working class as initiated in the 1920s until the early 1960s. With the end of the official censorship of theatre in 1968, political theatre in Britain experienced a period in which socialist works marked the stage. Nevertheless, the 1990s challenged the association of political theatre with the conditions of the working class. Considering the current political and social events in Britain and around the world, it is appropriate to underline that political theatre is not only in a constant flux, but its definition has been once again challenged. In this regard, Brexit can be considered as one of the most significant movements to influence the understanding of political theatre in the twenty-first century. Consequently, this study aims to analyse Brexit Shorts: Dramas from a Divided Nation (2017), a co-production by the Guardian and Headlong Theatre Company and discuss their contribution to the changing definition of political theatre. Brexit Shorts will be further explored regarding their influence on the popularity of monologues as a mode of performance.
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van Erven, Eugène. "Spanish Political Theatre under Franco, Suarez, and Gonzalez." New Theatre Quarterly 4, no. 13 (February 1988): 32–52. http://dx.doi.org/10.1017/s0266464x00002566.
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In Spain, alone among western nations, political theatre has arguably had a real impact upon the course of social and political change – yet it remains little noticed or assessed in other countries. This article examines the leading Spanish theatre groups which operated first in Franco's declining years, under strict though often incompetent government censorship, then in the period of transition to democracy – and now facing very different challenges under a nominally socialist government. The author. Eugène van Erven, who contributed a study of the popular theatre movement in the Philippines to NTQ 10, focuses in particular on the work of El Joglars (‘The Jesters’) from Barcelona – a company which, under the leadership of Albert Boadella, has been performing almost continuously since 1962. at first subverting the censorship by evolving a style of ‘politicized mime’, then through controversial works on overtly political themes, and more recently in a ‘provocative’ style intended to engage audiences in an active process of questioning the consumerist direction being taken by a democratic Spain.
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Warwick, Paul. "Theatre and the Eritrean Struggle for Freedom: the Cultural Troupes of the People's Liberation Front." New Theatre Quarterly 13, no. 51 (August 1997): 221–30. http://dx.doi.org/10.1017/s0266464x00011234.
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The thirty-year Eritrean struggle for independence – during which a small and poorly-armed guerrilla force eventually triumphed over a highly-equipped enemy, supported by foreign powers – is also the story of a social revolution in which the theatre played its part. The Eritrean People's Liberation Front not only employed theatre as a propaganda weapon, but also recognized its value as an agent for educating its people – concerning education and women's rights, and on the benefits of modern medicine and farming methods – and with victory came measures to stimulate the growth and development of theatre as part of Eritrean culture. Following Jane Plastow's contextual history of Eritrean theatre in our previous issue, Paul Warwick here makes the first attempt to reconstruct its undocumented role in the independence struggle, and the efforts of the rebels to create theatre for the first time in a rural context. A graduate of the Workshop Theatre, University of Leeds, Paul Warwick made this the subject of his research when he visited Eritrea in the summer of 1995 as part of the Eritrea Community Based Theatre Project. Since his return he has collaborated on a translation of The Other War by Alemseged Tesfai, written during the independence struggle, and given a reading at the West Yorkshire Playhouse in December 1996: this is due for publication later this year in an anthology of African drama from Methuen. Paul Warwick is currently Artistic Director of the Unlimited Theatre Company based in Leeds.
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Brown, John Russell. "Research in the Service of Theatre: the Example of Shakespeare Studies." Theatre Research International 18, no. 1 (1993): 25–35. http://dx.doi.org/10.1017/s0307883300017557.
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Masterpieces of theatre are tantalizingly inaccessible, except in print. Before we can see or hear the great plays of past ages, a theatre company has to learn how to produce them in a very different world from that in which they were written. Directors, designers, and actors who are available today are very different from the people first responsible for staging the plays. The buildings and equipment of newly-built theatres make their own distinct and irresistible contributions to any production. Before old texts can be staged problems of meaning, characterization, convention, and stagecraft have to be tackled. How can classics become fully and engagingly alive under such changed conditions? Any responsible theatre should consider establishing its own laboratory in which to conduct the necessary research.
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Dunkelberg, Kermit. "Confrontation, Simulation, Admiration: The Wooster Group's Poor Theater." TDR/The Drama Review 49, no. 3 (September 2005): 43–57. http://dx.doi.org/10.1162/1054204054742444.
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The Wooster Group's Poor Theater questions the state of contemporary performance by trying on the styles of a vanished group, the Polish Laboratory Theatre, dissolved in 1984; and a vanishing one, the Ballett Frankfurt, disbanded in August 2004 (half a year after Poor Theater had its first showing) and resurrected as the smaller Forsythe Company in 2005.
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Finestone-Praeg, Juanita. "Intimate revolts—some approaches towards pedagogy and performer training in Physical Theatre: In conversation with First Physical Theatre Company's Artistic Director: Gary Gordon." South African Theatre Journal 24, no. 1 (January 2010): 29–40. http://dx.doi.org/10.1080/10137548.2010.9687920.
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LeCompte, Elizabeth, Kate Valk, and Maria Shevtsova. "A Conversation on The Wooster Group's Troilus and Cressida with the RSC." New Theatre Quarterly 29, no. 3 (July 31, 2013): 233–46. http://dx.doi.org/10.1017/s0266464x13000432.
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Elizabeth LeCompte and Kate Valk here discuss with Maria Shevtsova The Wooster Group's work with the Royal Shakespeare Company on Troilus and Cressida and the challenges posed for them by this joint venture. The project was initially proposed by Rupert Goold, but was brought to fruition by playwright Mark Ravenhill, his first directing experience. Troilus and Cressida was part of the World Shakespeare Festival, during which all Shakespeare's plays were performed by different companies from countries across the globe. The Festival, four years in the making and spanning eight months, was part of the cultural programme of the Olympic Games held in London in 2012. Troilus and Cressida was first performed at the Swan Theatre in Stratford-upon-Avon from 3 to 18 August 2012, and then at the Riverside Studios in London from 24 August to 8 September. This conversation took place at the Riverside Studios on 30 August 2012, and pairs with the discussion of The Wooster Group's Hamlet, the company's first Shakespeare production, published in NTQ 114 (May 2013). Maria Shevtsova holds the Chair in Drama and Theatre Arts at Goldsmiths, University of London and is co-editor of New Theatre Quarterly. Her most recent book is the co-authored Cambridge Introduction to Theatre Directing (2013).
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King, Barnaby. "The African-Caribbean Identity and the English Stage." New Theatre Quarterly 16, no. 2 (May 2000): 131–36. http://dx.doi.org/10.1017/s0266464x00013646.
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In the first of two essays employing academic discourses of cultural exchange to examine the intra-cultural situation in contemporary British society, published in NTQ 61, Barnaby King analyzed the relationship between Asian arts and mainstream arts in Britain on both a professional and a community level. In this second essay he takes a similar approach towards African–Caribbean theatre in Britain, comparing the Black theatre initiatives of the regional theatres with the experiences of theatre workers themselves based in Black communities. He shows how work which relates to a specific ‘other’ culture has to struggle to get funding, while work which brings Black Arts into a mainstream ‘multicultural’ programme has fewer problems. In the process, he specifically qualifies the claim that the West Yorkshire Playhouse provides for Black communities as well as many others, while exploring the alternative, community-based projects of ‘Culturebox’, based in the deprived Chapeltown district of Leeds. Barnaby King is a theatre practitioner based in Leeds, who completed his postgraduate studies at the University of Leeds Workshop Theatre in 1998. He is now working with theatre companies and small-scale venues – currently the Blah Blah Blah company and the Studio Theatre at Leeds Metropolitan University – to develop community participation in