I am proud to announce the publication of a special issue of Theatre, Dance and Performance Training that I’ve edited. The issue looks at the ways in which performance training has responded to rise of interactive, immersive and participatory aesthetics in performance. It includes an article that I’ve written about connecting techniques associated with the Stanislavskian tradition of acting to the aesthetics of live art and interactive performance.
Check it out here: https://www.tandfonline.com/toc/rtdp20/9/2
An image of Kelsey Burns and me during research and development at NYU in the spring. The project was looking at the how we might use somatic practices and contemporary performance aesthetics to stage/adapt/appropriate Titus Andronicus. I’m excited to say that I’ll be developing this work further with Christian Billing in 2018 at the University of Hull. We’re making a mash up of Ovid, Titus and Hecuba to present to the esteemed folk from Theatre Without Borders.
I am editing a special issue of the journal Theatre, Dance and Performance Training, focusing on training for immersive, interactive and participatory performance. The deadline for proposals for articles and essays is the 30th of November.
I’m happy to say that my monograph, Theatrical Reality: Space, Embodiment and Empathy, is out now, published by Intellect. It’s been a long time in the pipeline. Looking forward to hearing what people think. (Don’t mention the typos.)
I went to meet with a Stroke Association Communication Support Group this week – talking about what life is like after stroke. It was pretty humbling. The conversation was the first stage of a project that seeks to find ways of representing some of those experiences using storytelling, dance and music. I will be collaborating with the saxophonist Jesse Bannister and the dancer Annika Kompart.
There will be a presentation of work in development in the Donald Roy Theatre at the University of Hull on April 21st at 7:30pm. It will be followed by a discussion with the audience and stake-holders.
This project is kindly supported by the Ferens Educational Trust.
I was pleased (and nervous) to present the first draft my new piece, The Violent Justice in Our Hearts, in the Hull Truck rehearsal room on Wednesday. I got some lovely and helpful feedback from the game and sympathetic crew that came to watch. Very much looking forward to presenting the finished item at the Grow Festival in June. Slightly panicking about having to learn 6000 words – even if I did write them.
Applied Theatre is a difficult term to define. In this Performance Pod I discuss its use and history with Professor Helen Nicholson from Royal Holloway, University of London.
She used the word ‘rhizomatic’. How do you like them apples?!