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Institution

Royal Central School of Speech and Drama

EducationLondon, United Kingdom
About: Royal Central School of Speech and Drama is a education organization based out in London, United Kingdom. It is known for research contribution in the topics: Political theatre & Queer. The organization has 57 authors who have published 94 publications receiving 332 citations. The organization is also known as: CSSD & The Central School of Speech Training and Dramatic Art.

Papers published on a yearly basis

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Journal ArticleDOI
TL;DR: The role of music and song in the audience reception of the verbatim musical London Road (Taylor 2013; Zavros 2018) has been discussed in this article, with a particular focus on the dialectics and the gestic role of the music and lyrics.
Abstract: This article contributes to discussions about the role of music and song in the audience reception of the “verbatim musical” London Road (Taylor 2013; Zavros 2018). It uses Brechtian philosophy to assess the audience reception, and shows how London Road can illuminate the resonance of Brechtian philosophy with contemporary docu-musical. The first section analyses Brechtian class representations in London Road, with a particular focus on the dialectics and the Gestic role of the music and song. The second section explores how the adaptation from stage to screen further affected the dialectics of the musical and, paradoxically, further served key Brechtian aims. I consider the audience’s reception of both productions. I include my own reception, because I have seen both the stage and screen versions. I focus on two dramaturgical changes in the adaptation from stage to screen: the chronological order of the narrative and the alternation of interview sections and dramatised sections, which resembles the structure of the popular drama-doc genre. Given that reordering and restaging the original verbatim numbers could affect audience reception, I analyse the way the meaning is affected through the Brechtian notions of alienation and the gestic character of music. Throughout, I discuss class representations and relevant dialectical implications.

2 citations

Book ChapterDOI
01 Jan 2017
TL;DR: In this paper, the authors explore the capacity of voice in theatre and explore Gatz by Elevator Repair Service, an eight-hour long production of F Scott Fitzgerald's The Great Gatsby staged in a drab basement office in downtown New York.
Abstract: As an aural phenomenon and a form of sound, voice does many things beyond carrying linguistic meaning. To explore the capacity of voice in theatre this chapter focuses on Gatz by Elevator Repair Service, an eight-hour long production of F Scott Fitzgerald’s The Great Gatsby staged in a drab basement office in downtown New York. The visual world of the book springs from its interior as it is read aloud in its entirety, no other words are added. Though Fitzgerald’s text forms the script, it is the performer’s voice that calls all aspects of this production into play. Drawing on the theories of Mladen Dolar’s ‘object voice’, this chapter asks what is a performed voice and what can it bring forth and do in theatre—how does it perform, as a thing in and of itself? And where does the voice go, who is it for? This chapter also considers its destination—the ear of another—because the relation between voice and ear is particularly potent in sonic-led theatre practices; it has political potential which can be harnessed by their re-staging.

2 citations

Book ChapterDOI
01 Jan 2018
TL;DR: In this paper, the authors argue that listening to audio-drama is fundamentally a bodily experience, and the conception of the theatre of the mind arises from the confines of the medium of radio, rather than the sonic nature of audio.
Abstract: This chapter draws from phenomenology to argue that podcasts provide the opportunity for audio-dramaturgy to instigate a radical break with the limits placed on it by radio technology. It questions prevalent theoretical characterisations of audio-drama as the theatre of the mind, understood intellectually and deliberatively, rather than immanently, due to the evanescent, amorphous nature of sound. Instead, the chapter draws from Merleau-Ponty’s phenomenology of perception to posit that listening to audio-drama is fundamentally a bodily experience, and the conception of the theatre of the mind arises from the confines of the medium of radio, rather than the sonic nature of audio-drama. Podcasts, it concludes, allow for a move away from conventional radio practices and toward more sonorous and bodily forms of audio-dramaturgy.

2 citations

Journal ArticleDOI
01 Dec 2020
TL;DR: In this article, the potential of participatory artistic practice that debates borders through dance is considered, and why so many dance artists choose this form to debate borders, and what practices are typical of participative dance investigations of borders.
Abstract: This article considers the potential of participatory artistic practice that debates borders through dance. It also asks why so many dance artists choose this form to debate borders, and what practices are typical of participatory dance investigations of borders. I discuss the range of border debates in works investigating dance and borders, and I begin to consider how privilege is dealt with by the work. I examine how dance works with participation and, alongside, look at the choreographic embodied invitation concerned. Particularly, I examine these questions through the dance work Rope Piece and consider how this dance practice as research generates a collective and participatory process in relation to borders and privilege.

2 citations


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Performance
Metrics
No. of papers from the Institution in previous years
YearPapers
20222
20216
202016
201917
201814
201717