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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

Papers
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Book ChapterDOI
01 Jan 2017
TL;DR: Theatre aurality is an exploration of sound in, of and as theatre; it explores emerging practices as well as a critical field as mentioned in this paper, and it explores the origins of aurality in theatre practice through the histories of sound and the emergence of technologies in contemporary theatre practice.
Abstract: Theatre aurality is an exploration of sound in, of and as theatre; it explores emerging practices as well as a critical field. Though it is a relatively new phenomenon—for example, in the form of headphone performances or theatre in the dark—theatre has a rich history of aurality which has been somewhat obscured from the discourses of theatre and performance. Therefore, this chapter explores the origins of aurality in theatre practice, through the histories of sound and the emergence of technologies in contemporary theatre practice. The new art of theatre sound in the twentieth century met with some resistance, it introduced technologies and processes that brought medial, material and aesthetic challenges which, in turn, raised questions about theatre’s ontology. These radical capacities of theatre sound are the substance of theatre aurality and they are found in contemporary theatre and performance practices that are characterised by some, if not all, of the following: aural intersubjectivity, sonic presence, lack of visual reference, sonic sensibility, non-visual spatiality, the corporeality and hapticity of audience, and the performance of sound.
Book ChapterDOI
01 Jan 2020
TL;DR: In this paper, the OPOS project was established as a research project, and the authors discussed how theatre has been used to address social concerns through different approaches including Theatre for Development and Theatre in Health Education.
Abstract: This chapter contextualises sexual health communication specifically within the context of HIV in Southern Africa. It addresses my motivation for theatre-making within the field of sexual health communication as a way to respond to the HIV/AIDS pandemic and to do something that was effective and meaningful. It notes the understandable desire within the fields of sexual health education and socially engaged theatre-making to evidence impact, a process which has historically proven to be challenging. The chapter considers how theatre has been used to address social concerns through different approaches including Theatre for Development and Theatre in Health Education. It contextualises how the OPOS project was established as a research project. It then addresses a key question in applied theatre around impact and value; the analysis of which informs the thinking in this book.
Book ChapterDOI
01 Jan 2017
TL;DR: The extent of theatre aurality is explored in this article, which turns the ear towards those sounds which are chaotic, disorienting and loud: noise, and how this is manifested in sounds that exert power through amplitude, cacophony or disorder in ways that are designed to move meaning and shift our understanding.
Abstract: The extent of theatre aurality is explored in this chapter which turns the ear towards those sounds which are chaotic, disorienting and loud: noise. Through the theses of Michel Serres, noise is explored as an agitatory entity and how this is manifested in sounds that exert power—through amplitude, cacophony or disorder—in ways that are designed to move meaning and shift our understanding. This chapter asks in what ways can noise in theatre be reproduced? In response, the chapter focuses on: noise as an organising principle, in the theatre of Teatr ZAR; noise as a methodology, in the work by Chris Goode; and noise as a sonic entity in the practices of the contemporary sound designers Tom Gibbons, Scott Gibbons and Ben & Max Ringham. These different manifestations of noise are designed to make their presence felt; from the movements of their material presence to the performance of a collapse of structure, noise is sound designed to work on the listener—to demand something from audiences in ways that cannot be ignored. Its very presence is a politics of sound.
Book ChapterDOI
01 Jan 2020
TL;DR: In this paper, the authors argue for the recognition of more delicately complex outcomes that can emerge from applied theatre practice, of being more than the ideals of empowerment and transformation that are sometimes ascribed to in the literature.
Abstract: This chapter argues for the recognition of more delicately complex outcomes that can emerge from applied theatre practice, of being more than the ideals of empowerment and transformation that are sometimes ascribed to in the literature. It considers the applied theatre space as a thinking space, within which, by recognising and noticing things that take place, a moment of meaning-making for participants on their own terms is possible. The term apertures of possibility is used to describe these moments. It considers how the applied theatre space can create embodied moments of resistance and discusses what the potential impact and/or value of these apertures of possibility could be. It concludes that, in this instance, for some participants, the opportunity to continue reflecting and sharing ideas about sexual health concerns and building informal networks of social communication are both radical and revolutionary.
Book ChapterDOI
01 Apr 2018
TL;DR: In this article, the authors explore the relationship that some twentieth-century Western plays about HIV and AIDS have to contemporary performance and explore the way in which contemporary twenty-first century low-brow, popular performance work inculcates the politics of remembering and dealing with HIV as both an historical moment and an ongoing challenge.
Abstract: This essay explores the relationship that some twentieth-century Western plays about HIV and AIDS have to contemporary performance. The discussion looks to specific histories of performance to connect and augment current ideas about forgetting HIV and AIDS in queer performance. By describing, examining and providing a particular reading of an act by Bourgeoisie, a drag performer, in a nightclub in London, the essay explores the way in which contemporary twenty-first century low-brow, popular performance work inculcates the politics of remembering and dealing with HIV and AIDS as both an historical moment and an ongoing challenge.

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