By Subha Robert William
RashDash’s Oh Mother opens up with mess. Abi and Helen find themselves in a place of undoing. As they are left with just five minutes before the show starts, things around them are in disarray. Continue reading Oh Mother by RashDash, Soho Theatre (19th July-13th August 2022)
Experience the Globe from the comfort of your own home. The Summer 2021 live streams at the Globe (June – October) include: A Midsummer Night’s Dream, Romeo & Juliet, Twelfth Night, and Metamorphoses.
What do we really think about Shakespeare? As one of the world’s most iconic writers, we all have certain preconceptions and biases about him and his work which can impact how we watch, read and study them. The Bard Takes Podcast follows a Shakespeare Studies student exploring these preconceptions and the truth behind Shakespeare’s work, with guests including staff and students from King’s College London, Shakespeare’s Globe and beyond.
Continue reading Bard Takes: A new podcast supported by KCL English Department
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 Susan Bennett and Sonia Massai
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.
When asked “What is politics?,” director Ivo van Hove’s answer is straightforward and uncompromising: “Politics is the antithesis of absolute truth.”
Continue reading Surviving Post-Truth Politics: The Theater of Ivo van Hove
