Susan Bennett is University Professor in the Department of English, University of Calgary, Canada. She is widely published across a variety of topics in theatre and performance studies, including Theatre Audiences (1997), Theatre & Museums (2013) and Sound (2019).
Sonia Massai is Professor of Shakespeare Studies at King’s College London, UK. She has published widely on the history of the transmission of Shakespeare in print and in performance. She is currently working on a new book on Shakespeare’s Accents: Voicing Identity in Performance and preparing a new edition of Richard III for the Arden Shakespeare.
“I was photographed three times a week[,] for which I received a settled income…
Two famous dressmakers, one in London and one in Paris, dressed me for nothing, and a famous English designer called her models after me and made my clothes at a very nominal fee…
My picture advertised all sorts of wares, and face creams and soaps, and I gave advice in all the papers on how to keep healthy and beautiful and young. If I had followed the regime I laid down, I could never have finished in the twenty-four hours…”
So writes Constance Collier in her 1929 memoir Harlequinade, reflecting on her time as a ‘Gaiety girl’ on the 1890s Strand. On 8 February, I’ll be talking about Collier as part of an event at the London Transport Museum, themed around London love stories, representing the Centre for Life-Writing Research’s Strandlines project (an online archive of stories about ‘life on the Strand, past, present and creative’ – do contribute if you haven’t already…). I’ll be describing how Collier and her co-stars won the hearts of late Victorian Londoners with a series of racily contemporary ‘musical comedies’ combining cutting-edge fashions, romantic spins on everyday scenarios and saucy/sentimental songs. Pitched somewhere between ‘legitimate’ theatre and burlesque, musical comedies turned Gaiety impresario George Edwardes into a very rich man and many of his ‘girls’ into household names. Continue reading Reinventing Stardom on the Strand→
by Clare Birchall, Reader in Contemporary Culture, Department of English
It’s not often, as a theorist, that I have the opportunity to watch my ideas come to life. When the King’s Digital Lab offered to fund a workshop to explore how its designers and engineers might help me to build a digital tool that can enact what I call ‘radical transparency’, I naturally jumped at the chance. In contrast to weak forms of transparency implemented by some public and private bodies that offer the public access to certain data in lieu of political commitment as well as responsibility without power, I envisage radical transparency as processes that would offer meaningful, political and contextualised information and data that promote experiences of political agency for digital users.
As well as the team at King’s Digital Lab, I wanted to draw together artists, computer scientists and other digital theorists to think through the ethical protocols as well as practical possibilities of any form radical transparency might take.
For some time, we have wanted to try and find a way to talk across our research in bodies, queer lives and intimacy. Both situated in the English Department at King’s and with desks next to one another in a small communal postgraduate research room, we have been speaking about how intimacy, its pleasures and its discontents, has long preoccupied the work of writers and artists.
In Virginia Woolf’s Mrs Dalloway, for example, intimacy is a locus of change, growth and transformation: ‘there had risen up a lovely tree in the brisk sea-salted air of their intimacy (for in some ways no one understood him, felt with him, as Clarissa did)—their exquisite intimacy’. Through intimacy, Woolf radically connects feeling to knowledge and self-understanding. However, intimacy here is also elusive. For the two former lovers, it is part of the air, atmospheric and ineffable. Continue reading close: letter #1→
by Alan Read, Professor of Theatre; Lizzie Eger, Reader Emerita in Eighteenth-Century Literature; Rowan Boyson, Senior Lecturer in Eighteenth-Century Literature; Josh Davies, Lecturer in Medieval Literature; Clare Lees, Professor of Medieval Literature and History of the Language; and Ruth Padel, Poetry Fellow
Six members of the English Department reflect on three events which took place on a single day. The day was Tuesday 10 May 2016. But, as Alan Read suggests, the date itself is of little importance. The variety of connections and conversations remembered below is typical of what might be experienced, should a curious mind find themselves in College with an hour or two spare, a ready ear, and the patience to pinpoint the precious gems among the ineluctable events emails that come with an @kcl.ac.uk email address.
On days like this you might imagine you are in a University as it was always intended. Drifting between critical conversations, discussions, presentations, performances, poetry readings and parties, across all levels of the King’s Strand campus, the orthodoxies of subjects fall away, the expectations of expertise are confounded, the surprising connections rather than disciplinary distinctions prevail.
The early nineteenth century architecture of Robert Smirke, a distinguished architect with a somewhat unfortunate name, shimmers where it once stood solid, glimmers with the fireflies of thought and expression dancing across its static surfaces, a disorder of things you could say. Of course, the privilege to wander in this way might be rare, for students and staff alike, deadlines and demands still call. But when a college of colleagues and communities works like this the French Surrealist Roger Caillois would recognise it as a flaring of ‘Diagonal Science’. Continue reading A Day in the Life of the Humanities→
From the Department of English at King's College London