Institution
Royal Central School of Speech and Drama
Education•London, 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.
Topics: Political theatre, Queer, Drama, Drama therapy, Performative utterance
Papers
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TL;DR: In March 2017, I travelled to the frontline between the Ukrainian army and Pro-Russian separatist forces in the Donbass region, East Ukraine, as part of a research project into the return of twenti...
Abstract: In March 2017, I travelled to the frontline between the Ukrainian army and Pro-Russian separatist forces in the Donbass region, East Ukraine, as part of a research project into the return of twenti...
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TL;DR: A new-found boost in the value assigned to clown training and its practitioners has also visibly filtered into the public arena, via tributes paid by household names such as Sacha Baron Cohen, or Edinburgh Perrier award-winner Phil Burgers (Dr Brown) and others, to master clown teachers such as Philippe Gaulier as discussed by the authors.
Abstract: Over the last half-century, clown workshops and training, since Jacques Lecoq's experiments teaching clowning in the early 1960s, have gained considerable status within the field of performer training. A new-found boost in the value assigned to clown training and its practitioners has also visibly filtered into the public arena, via tributes paid by household names such as Sacha Baron-Cohen, or Edinburgh Perrier award-winner Phil Burgers (Dr Brown) and others, to master clown teachers such as Philippe Gaulier. However, clown training remains a relatively isolated niche in the wider worlds of acting or comedy and, outside the confines of the clown workshop, very little is known about just what the value of clown training might be, or indeed what it is. Are the experiences of students and teachers of clowning alike, which are often reported to be ‘life-changing’, destined to lie neglected as traces in the personal memories of participants? Or can they be documented and disseminated in such a way tha...
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01 Jan 2017TL;DR: In this article, the authors explore a form of theatre in the dark that harnesses the affective movement of sound, resonance and subjectivity, and demonstrate how sound in theatre can not only move us, but also allow us to move.
Abstract: Sound, resonance and subjectivity are the focus of this chapter, which explores a form of theatre in the dark that harnesses the affective movement of sound. Extant theatre, the UK’s leading company making work for and by the visually impaired, has undertaken research into theatre sound that can move its audience, literally, through an immersive performance experience. Using forms of technology which are in many ways the inverse of headphone theatre, they equip the body of the audience yet leave the ear open. Armed instead with haptic technology, Extant’s production Flatland is an exploration of how sound in all its sonorous, sensual and sensitising potential can form the audience experience; how it not only moves us, but can allow us to move. Drawing on Jean-Luc Nancy’s seminal thesis of listening and his theories of touch, hapticity and syncope, this chapter demonstrates how sound in theatre generates a form of resonance, a movement within listening that also brings forth a sense of self, as well as the other selves that may be sensed. This analysis suggests an understanding of audience as a form of corps sonore that is formed through sonority, how our engagement in sound brings us into intersubjectivity through the audience experience.
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TL;DR: In this paper, the authors explored the question of Queer Sinofuturisms through the works of Pao-Chang Tsai, a Taiwanese performer, playwright, and director who became renowned for exploring the Taiwanese theaterscape with new media and novel performative techniques.
Abstract: This interview deals with the question of queer Sinofuturisms through the works of Pao-Chang Tsai, a Taiwanese performer, playwright, and director who became renowned for exploring the Taiwanese theaterscape with new media and novel performative techniques. With a special focus on his acclaimed theatrical productionSolo Date(2016), the conversation inquires into themes of artificial intelligence, queer futurity, and transcultural performance featured in this one-man show. Linking the representation of A.I. interface as queer body with the demand for LGBT rights in Sinophone contexts, Tsai’s innovative solo performance has examined changing discourses toward queerness and futurism in the age of advanced artificial intelligence. The touching story of how a gay man struggled to process his grief after losing the love of his life further raises critical ethical questions, since the protagonist’s true identity is an A.I. robot.
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TL;DR: An interview with Rachel Warr of Dotted Line Theatre on the synergies between surgery and puppetry.
Abstract: An interview with Rachel Warr of Dotted Line Theatre on the synergies between surgery and puppetry
Authors
Showing all 59 results
Name | H-index | Papers | Citations |
---|---|---|---|
Maria M. Delgado | 8 | 39 | 254 |
Simon Shepherd | 8 | 17 | 321 |
Sally Mackey | 7 | 16 | 152 |
Kate Elswit | 6 | 18 | 91 |
Broderick D. V. Chow | 5 | 22 | 71 |
Tony Fisher | 5 | 17 | 55 |
Stephen Farrier | 5 | 10 | 55 |
Marilena Zaroulia | 4 | 11 | 31 |
Daron Oram | 4 | 6 | 42 |
Joshua Edelman | 4 | 12 | 38 |
Paul Barker | 3 | 3 | 26 |
Richard Hougham | 3 | 5 | 20 |
Jane Boston | 3 | 4 | 26 |
Selina Busby | 3 | 5 | 19 |
Liselle Terret | 3 | 4 | 14 |