Theatre Practice, Theatre Studies, and ‘New Theatre Quarterly’

1985 ◽  
Vol 1 (1) ◽  
pp. 3-6
Author(s):  
Simon Trussler
Keyword(s):  
Associate Editor ◽  
Actor Training ◽  
Senior Lecturer ◽  
Original Series ◽  
Theatre Studies ◽  
English Speaking ◽  
Personal Reflections ◽  
The University

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 monographs on theatre, was drama critic of Tribune from 1966 to 1972, and currently teaches in the Drama Departments of Goldsmiths' College, University of London, and the University of Kent. Clive Barker, his associate editor on TQ since 1978, joins him as co-editor of the new journal. Formerly an actor with Joan Littlewood's Theatre Workshop, and author of the influential guide to actor training Theatre Games, Clive Barker is currently Senior Lecturer in Theatre Studies in the University of Warwick.

ADHD, Self-Harm, and the Importance of Early Childhood Intervention - In Conversation with Dr. Melissa Mulraney

2021 ◽  
Keyword(s):  
Child Mental Health ◽  
Associate Editor ◽  
Mental Health Research ◽  
Social Neuroscience ◽  
Early Childhood Intervention ◽  
Research Centre ◽  
Senior Lecturer ◽  
Childhood Intervention ◽  
Self Harm ◽  
The University

In this podcast, we talk to Dr. Melissa Mulraney, Senior Lecturer and co-leader of the Child Mental Health Research Centre at the Institute for Social Neuroscience in Melbourne, Australia, Honorary Research Fellow at the Murdoch Children's Research Institute in the Department of Paediatrics at the University of Melbourne, and Associate Editor of CAMH.

scholarly journals Picturing Nineteenth-Century Female Theatre Managers: the Iconology of Eliza Vestris and Sara Lane

2017 ◽  
Vol 33 (1) ◽  
pp. 3-21
Author(s):  
Janice Norwood
Keyword(s):  
Nineteenth Century ◽  
English Literature ◽  
Theatre History ◽  
Senior Lecturer ◽  
Personal Lives ◽  
Professional Activities ◽  
Theatrical Management ◽  
Aesthetic Practice ◽  
Theatre Studies ◽  
The University

Lucia Elizabeth Vestris (1797–1856) and Sara Lane (1822–99) were two pioneering women in nineteenth-century theatre history. Both were accomplished singers who made their names initially in comic and breeches roles and, during periods when theatrical management was almost exclusively confined to men, both ran successful theatre companies in London. Despite these parallels in their professional activities, there are substantial disparities in the scrutiny to which their personal lives were subjected and in how their contemporaries and posterity have memorialized them. In this article, Janice Norwood examines a range of portraits and cartoons of the two women, revealing how the images created and reflected the women's public identities, as well as recording changes in aesthetic practice and social attitudes. She argues that the women's iconology was fundamentally shaped by the contemporary discourse of gender difference. Janice Norwood is Senior Lecturer in English Literature, Drama, and Theatre Studies at the University of Hertfordshire. She has published on various aspects of nineteenth-century theatre history and edited a volume on Vestris for the Lives of Shakespearian Actors series (London: Pickering and Chatto, 2011).

scholarly journals ‘Out Vile Jelly’: Sarah Kane's ‘Blasted’ and Shakespeare's ‘King Lear’

2004 ◽  
Vol 20 (1) ◽  
pp. 69-78 ◽  
Author(s):  
Graham Saunders
Keyword(s):  
King Lear ◽  
Senior Lecturer ◽  
The Past ◽  
Radical Structure ◽  
Dramatic Form ◽  
History Of ◽  
Theatre Studies ◽  
Sarah Kane ◽  
Contemporary Reality ◽  
The University

Sarah Kane's notorious 1995 debut, Blasted, has been widely though belatedly recognized as a defining example of experiential or ‘in-yer-face’ theatre. However, Graham Saunders here argues that the best playwrights not only innovate in use of language and dramatic form, but also rewrite the classic plays of the past. He believes that too much stress has been placed on the play's radical structure and contemporary sensibility, with the effect of obscuring the influence of Shakespearean tradition on its genesis and content. He clarifies Kane's gradually dawning awareness of the influence of Shakespeare's King Lear on her work and how elements of that tragedy were rewritten in terms of dialogue, recast thematically, and reworked in terms of theatrical image. He sees Blasted as both a response to contemporary reality and an engagement with the history of drama. Graham Saunders is Senior Lecturer in Theatre Studies at the University of the West of England, Bristol, and author of the first full-length study of Kane's work: ‘Love Me or Kill Me’: Sarah Kane and the Theatre of Extremes (Manchester University Press, 2002). An earlier version of this article was given as a paper at the ‘Crucible of Cultures: Anglophone Drama at the Dawn of a New Millennium’ conference in Brussels, May 2001. Saunders is currently working on articles about Samuel Beckett and Edward Bond.

Echt Brecht? ‘Mother Courage‘at the Citizens,1990

1991 ◽  
Vol 7 (28) ◽  
pp. 303-314
Author(s):  
Margaret Eddershaw
Keyword(s):  
Eastern Europe ◽  
Senior Lecturer ◽  
History Of ◽  
Theatre Studies ◽  
The University

The Citizens Theatre in Glasgow has a long and honourable tradition of serving its neighbourhood and its city, and a directorial team which remarkably combines professional distinction with loyalty to their theatre. In view of its reputation for productions of great visual brilliance, it is surprising to be reminded that, of all British repertory theatres, ‘national’ or regional, it has also the strongest continuous tradition of playing Brecht. Margaret Eddershaw, Senior Lecturer in Theatre Studies in the University of Lancaster, outlines the history of this tradition, which stretches back even beyond the present triumviral management, and proceeds to look at the most recent encounter of ‘the Cits’ with Brecht, Philip Prowse's 1990 production of Mother Courage. This was significant not only for the director's attitude to Brechtian theory, theatrical and political, in the aftermath of the previous year's events in Eastern Europe, but for its inclusion of an international ‘star’, Glenda Jackson, within the Cits' usually close-knit ensemble – its consequences also, arguably, of ‘political’ as well as theatrical interest.

What Training – for What Theatre?

1995 ◽  
Vol 11 (42) ◽  
pp. 99-108 ◽  
Author(s):  
Clive Barker
Keyword(s):  
Actor Training ◽  
Full Time ◽  
Economic Problems ◽  
Theatre Studies ◽  
The University ◽  
Joint School ◽  
Academic Sector

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 have led to this situation, and to suggest how some of the artistic, if not the economic problems might begin to be tackled. Clive Barker, who recently retired from the Joint School of Theatre Studies at the University of Warwick, is co-editor of New Theatre Quarterly. Formerly an actor with Theatre Workshop, he is also author of the seminal text, Theatre Games.

‘Yours Neutrally, Habitational Action’: Performance between Theatre and Dance

2013 ◽  
Vol 29 (3) ◽  
pp. 247-263
Author(s):  
Frank Camilleri
Keyword(s):  
A Priori ◽  
Associate Professor ◽  
Actor Training ◽  
Central Aspect ◽  
Theatre Studies ◽  
The Cross ◽  
And Performance ◽  
Performance Project ◽  
The University ◽  
Artistic Director

A milestone development in a practice-as-research investigation led to the identification of ‘habitational action’ as a term that resists a priori restrictions of inner–outer problematics when discussing performer processes. In this article Frank Camilleri cross-references the term with ‘neutral action’ to locate it conceptually and historically; first with Jacques Lecoq's pedagogical mask work, and then with Yvonne Rainer's conceptualization of the ‘neutral doer’. The cross-referencing to specific theatre and dance contexts is also intended to problematize psychophysicality as a central aspect of current actor training discourse. Frank Camilleri is Associate Professor in Theatre Studies at the University of Malta and Artistic Director of Icarus Performance Project. In 2007 he co-founded Icarus Publishing with Odin Teatret and the Grotowski Institute. He is also Visiting Professor in Theatre and Performance at the University of Huddersfield.

scholarly journals Explanations and Implications of ‘Psychophysical’ Acting

2016 ◽  
Vol 32 (2) ◽  
pp. 157-168 ◽  
Author(s):  
Rose Whyman
Keyword(s):  
Philosophical Problem ◽  
Actor Training ◽  
Senior Lecturer ◽  
Theatre Arts ◽  
Konstantin Stanislavsky ◽  
The University ◽  
Performer Training

The term ‘psychophysical’ in relation to acting and performer training is widely used by theatre scholars and practitioners. Konstantin Stanislavsky is considered to have been an innovator in developing an approach to Western acting focused on both psychology and physicality. The discourse encompasses questions of practice, of creativity and emotion, the philosophical problem of mind–body from Western and Eastern perspectives of spirituality. In this article, Rose Whyman attempts to uncover what Stanislavsky meant by his limited use of the term ‘psychophysical’ and suggests that much of the discourse remains prone to a dualist mind–body approach. Clarification of this is needed in order to further understanding of the practice of training performers. Rose Whyman is a Senior Lecturer in the Department of Drama and Theatre Arts at the University of Birmingham. She researches the science of actor training and is the author of The Stanislavsky System of Acting (Cambridge, 2008) and Stanislavsky: the Basics (Routledge, 2013).

Practice as Research in Performance: a Personal Response

2004 ◽  
Vol 20 (1) ◽  
pp. 36-44
Author(s):  
Bella Merlin
Keyword(s):  
Joint Production ◽  
Practice Research ◽  
Research Assessment ◽  
Theatre Studies ◽  
Personal Reflections ◽  
Performance Project ◽  
University Of Bristol ◽  
The University ◽  
Academic Implications

The second conference called by the organizers of the ‘Practice as Research in Performance’ project (PARIP) was held from 11 to 14 September 2003 at the University of Bristol. PARIP is not an organization, but an AHRB-funded research project into the nature and academic implications of performance practice as research, in terms both of the discipline of Drama and Theatre Studies in the university, and the related issues of research assessment and funding. Its conferences aim to give academics in the field the opportunity to add their voices to the debate, and indeed to help shape its outcome. Bella Merlin, a Contributing Editor and Book Reviews Editor for NTQ, is author of Beyond Stanislavsky (Nick Hern Books, 2001). She attended the PARIP conference on the cusp of her personal decision to return to the acting profession from her post in the University of Birmingham, and as this issue goes to press is appearing in the Out of Joint production of David Hare's The Permanent Way. Here she combines a report on the conference with some personal reflections on practice, research, and practice as research.

Designing for Reinhardt: the Work of Ernst Stern

1986 ◽  
Vol 2 (7) ◽  
pp. 217-232
Author(s):  
Hugh Rorrison
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Good Deal ◽  
Original Series ◽  
English Speaking ◽  
The University ◽  
Victoria And Albert Museum ◽  
The Relationship ◽  
Stage Lighting

Although a good deal of his work was seen in London and New York, the name of Max Reinhardt remains for most English-speaking theatre students all-too-vaguely associated with those innovations which helped to give a new importance to the ‘totality’ of the relationship between actors, audience, stage lighting and design, movement and music, in the earlier part of this century. Even less is known here about one of Reinhardt's leading collaborators. Ernst Stern – the longest-serving, most versatile, and most professional of his designers. Yet Stern settled in England in 1933, and left his papers to the Victoria and Albert Museum, upon whose resources Hugh Rorrison has drawn in assembling this view of Stern's contribution to Reinhardt's theatre in particular, and to twentieth-Century scenography in general. Hugh Rorrison, who was a regular contributor to the original series of Theatre Quarterly, teaches in the Department of German of the University of Leeds.

scholarly journals Redefining the Feminine in Kathakali

2019 ◽  
Vol 35 (02) ◽  
pp. 169-186
Author(s):  
Arya Madhavan
Keyword(s):  
Gender Norms ◽  
Associate Editor ◽  
Research Area ◽  
Female Characters ◽  
Aesthetics And Politics ◽  
Senior Lecturer ◽  
The Feminine ◽  
History Of ◽  
The University ◽  
First Time

In this article Arya Madhavan examines the significance of the female protagonist Asti from the new Kathakali play, A Tale from Magadha (2015), in the four-hundred-year-old patriarchal history of Kathakali. The play is authored by Sadanam Harikumar, a Kathakali playwright and actor, whose contemporary retelling of Hindu myths and epics afford substantial agency to the female characters, compelling radical reimagining of Kathakali’s gender norms and a reconsideration of the significance of female characters, both on the stage and in the text. Asti unsettles the conventional norms of womanhood that have defined and structured the ‘Kathakali woman’ over the last five centuries. Although several new Kathakali plays have been created in recent decades, they seldom include strong female roles, so Harikumar’s plays, and his female characters in particular, deserve a historic place in the Kathakali tradition, whose slowly changing gender norms are here analyzed for the first time. Arya Madhavan is a senior lecturer in the University of Lincoln. She has been developing the research area of women in Asian performance since 2013 and edited Women in Asian Performance: Aesthetics and Politics (Routledge, 2017). She is a performer of Kutiyattam, the oldest Sanskrit theatre form from India, and serves as associate editor for the Indian Theatre Journal.

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