By Fran Allfrey, Strandlines assistant editor, English Dept alumna and Teaching Assistant
Strandlines is a life-writing and community history project, which takes the form of a website and linked Facebook, Twitter, and Instagram accounts. The project was set up by Professor Clare Brant, with a board of editors made up of colleagues inside and beyond King’s. I joined as Assistant Editor in spring 2019. With the new term just starting, Clare and I thought now was a good time to reflect on where Strandlines has been, and where it may go next! Continue reading Strandlines: lives on the Strand, past, present and creative
by Sarah Mir
Sarah is a 21-year-old soon-to-be English Literature graduate from King’s College London who has an avid interest in writing/editorial work.
A common epithet to describe the coronavirus has been “the invisible enemy”. Not only does the use of the chosen adjective, ‘invisible’, hint at the nature of a biological threat, but it also perpetuates an understanding of the virus as an abstraction, this other-worldly description questions its reality. Continue reading Class of 2020: Graduating From a Distance
by Professor Alan Read
In the 1980s Alan was director of Rotherhithe Theatre Workshop, a neighbourhood theatre based in the Docklands area of South East London, in the 1990s he worked as a freelance writer in Barcelona and was Director of Talks at the Institute of Contemporary Arts in London, and from 1997-2006 he was Professor of Theatre at Roehampton University where he directed a five year AHRC research funded programme on performance, architecture and location exploring theatre and public ceremonial in rational housing blocks and council estates.
The Dark Theatre was written as a critical response to my first book Theatre & Everyday Life (Routledge, 1993). This book mimicks the ambitions and two-part structure of that earlier work but takes stock of the intervening quarter-century turn towards financialization and precarity in Western Europe, exploring a ‘general economy of performance’ by way of response to these capitalized conditions. The Dark Theatre is not an updating of the source work but instead engages with questions of community, ecology, and what I call ‘cultural cruelty’ as evidenced in practices ranging from theatrical acts to legal processes.
by Freya Thursfield
Freya is 19 and in their second year of undergraduate study in the English Department at King’s College London. They’re from London, but grew up between the UK, Lithuania and China.
I don’t cry until the valve cap on my bike’s front inner tube snaps off in my hand, at which point I stand in a deserted street next to a public bike pump and sob for about five minutes. I had been coping with a global pandemic very well, but now being an adult has crept up on me and I am unprepared. This bike is also my only way of getting to work, which I need to do in less than 24 hours. The chain is so rusted I’m not sure it’ll turn even if I get the inner tube fixed. I don’t have a new inner tube, or the equipment to replace it at home, or the skills, or the energy, the way an adult would.