Review of Cardenio (directed by Jonny Wilkinson for the Kelvin Players Theatre Company) at the Studio Theatre, Gloucester Road, Bristol, 21 October 2015

Shakespeare ◽  
2016 ◽  
Vol 12 (4) ◽  
pp. 470-472
Author(s):  
Kath Bradley
Keyword(s):  
Theatre Company ◽  
Studio Theatre

Romeo and Juliet by Muse of Fire Theatre Company

2015 ◽  
Vol 33 (1) ◽  
pp. 150-153
Author(s):  
Caroline Dodge Latta
Keyword(s):  
Romeo And Juliet ◽  
Theatre Company

Drama and Environment: Joining Forces to Engage Children and Young People in Environmental Education

2013 ◽  
Vol 29 (2) ◽  
pp. 182-201 ◽  
Author(s):  
David J. Curtis ◽  
Mark Howden ◽  
Fran Curtis ◽  
Ian McColm ◽  
Juliet Scrine ◽  
...  
Keyword(s):  
Environmental Education ◽  
Case Studies ◽  
Large Scale ◽  
Environmental Issues ◽  
Contemporary Society ◽  
Children And Young People ◽  
School Based ◽  
Qualitative Evidence ◽  
Theatre Company ◽  
Theatre In Education

AbstractEngaging and exciting students about the environment remains a challenge in contemporary society, even while objective measures show the rapid state of the world's environment declining. To illuminate the integration of drama and environmental education as a means of engaging students in environmental issues, the work of performance companies Evergreen Theatre, Leapfish and Eaton Gorge Theatre Company, the ecological oratorio Plague and the Moonflower, and a school-based trial of play-building were examined through survey data and participant observations. These case studies employed drama in different ways — theatre-in-education, play-building, and large-scale performance event. The four case studies provide quantitative and qualitative evidence for drama-based activities leading to an improvement in knowledge about the environment and understandings about the consequences of one's actions. In observing and participating in these case studies, we reflect that drama is a means of synthesising and presenting scientific research in ways that are creative and multi-layered, and which excite students, helping maintain their attention and facilitating their engagement.

Firebird Theatre company

2009 ◽  
Vol 14 (1) ◽  
pp. 55-57
Author(s):  
Steve Canby ◽  
Carol Chilcott ◽  
Brian Davis ◽  
Penny Goater ◽  
Kevin Hogan ◽  
...  
Keyword(s):  
Theatre Company

scholarly journals Engines of alternative objectivity: Re-articulating the nature and value of participatory mental health organisations with the Hearing Voices Movement and Stepping Out Theatre Company

2015 ◽  
Vol 22 (3) ◽  
pp. 205-222 ◽  
Author(s):  
Claire Blencowe ◽  
Julian Brigstocke ◽  
Tehseen Noorani
Keyword(s):  
Mental Health ◽  
Material Culture ◽  
Science Studies ◽  
Drama Therapy ◽  
Biomedical Science ◽  
Sociology Of Culture ◽  
Hearing Voices ◽  
Production Values ◽  
Theatre Company ◽  
High Production

Through two case studies, the Hearing Voices Movement and Stepping Out Theatre Company, we demonstrate how successful participatory organisations can be seen as ‘engines of alternative objectivity’ rather than as the subjective other to objective, biomedical science. With the term ‘alternative objectivity’, we point to collectivisations of experience that are different to biomedical science but are nonetheless forms of objectivity. Taking inspiration from feminist theory, science studies and sociology of culture, we argue that participatory mental health organisations generate their own forms of objectivity through novel modes of collectivising experience. The Hearing Voices Movement cultivates an ‘activist science’ that generates an alternative objective knowledge through a commitment to experimentation, controlling, testing, recording and sharing experience. Stepping Out distinguishes itself from drama therapy by cultivating an alternative objective culture through its embrace of high production values, material culture, aesthetic standards. A crucial aspect of participatory practice is overcoming alienation, enabling people to get outside of themselves, encounter material worlds and join forces with others.

scholarly journals The royal New Wave: Aubrey Mellor and Queensland Theatre Company, 1988–1993

2015 ◽  
Vol 22 (2) ◽  
pp. 157-167
Author(s):  
Karen Hands
Keyword(s):  
Artistic Identity ◽  
New Wave ◽  
National State ◽  
Cultural Planning ◽  
Theatre Company ◽  
Artistic Director

AbstractWhen Aubrey Mellor returned to Brisbane in 1988 to become the second artistic director of Queensland Theatre Company (QTC), the company had been under the direction of a British-born and trained director since its formation in 1969. QTC was part of the national state theatre company network established as a result of postwar cultural planning. The network was charged with promoting national drama and producing theatre to a high artistic standard, but this objective imposed very specific constraints around the companies' programming. This was particularly observable at QTC: the company had been culturally and geographically distant from the New Wave movement that emerged in Sydney and Melbourne between 1968 and 1981. Mellor brought his experience of working in key institutions during this movement to QTC where he pursued a personal mission to develop Australian playwriting. During his five-year leadership he transitioned the artistic identity of the company to a more contemporary artistic framework.

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