http://hdl.handle.net/2160/1066 2013-05-25T06:12:25Z 2013-05-25T06:12:25Z Greer, Stephen http://hdl.handle.net/2160/13463 2013-05-10T15:43:52Z 2012-06-01T00:00:00Z

Contemporary British Queer Performance Greer, Stephen This book examines queer performance in Britain since the early 1990s, arguing for the significance of emerging collaborative modes of practice. Using queer theory and the history of early lesbian and gay theatre to examine claims to representation among other things, it interrogates the relationships through which recent works have been presented. contracted: Yes

2012-06-01T00:00:00Z Greer, Stephen http://hdl.handle.net/2160/13092 2013-05-10T15:29:31Z 2013-04-05T00:00:00Z

Temporary legitimacy : Queer possibilities in digital performance Greer, Stephen Walsh, Fintan; Causey, Matthew

2013-04-05T00:00:00Z Forsyth, Alison http://hdl.handle.net/2160/2447 2013-05-10T15:15:20Z 2009-01-01T00:00:00Z

Pacifist Antigones Forsyth, Alison Macarthur, M.; Wilkinson, L.; Zaiontz, K. Performing Adaptations: Conversations and Essays on the Theory and Practice of Adaptation brings together scholars and artists from across North America and the United Kingdom to contribute to the growing discourse on adaptation in the arts. An ideal text for students of theatre, drama, and performance studies, this volume offers a ground-breaking set of essays, interviews, and artistic reflections that assess adaptation from the perspective of live performance, an aspect of the field that has been under-explored until now. The diverse authors and interview subjects in this anthology take a variety of approaches to both creating and analyzing adaptations, demonstrating the form’s suitability for testing and speaking back to dominant models of creation, production, and analysis. Featuring articles by pioneering adaptation scholar Linda Hutcheon and critically acclaimed writer and critic George Elliott Clarke, Performing Adaptations advances the field of adaptation studies in new and exciting ways. The authors in Performing Adaptations do not comprise a comprehensive view of adaptation studies, but represent a collection of “gutsy” voices that use adaptation to test, and speak back to dominant models of creation, production, and analysis. Some of these perspectives include a group of artists from the African Diaspora, Europe, and Canada (the AfriCan Theatre Ensemble); the voice of Chinese-Canadian playwright, Marjorie Chan; the innovative storytelling of Beth Watkins, and her adaptation of letters written by transgendered student activist, Jesse Carr; the views of vanguard Canadian queer filmmaker, John Greyson; and African-Canadian poet, novelist, and critic, George Elliott Clarke. Their adaptation of sources to other genres, mediums, and cultural contexts represent the act of a radical, dialogical reading, writ large. Forsyth, Alison, 'Pacifist Antigones', In: 'Performing Adaptations: Essays and Conversations on the Theory and Practice of Adaptation', (eds) Michelle MacArthur, Lydia Wilkinson and Keren Zaientz, (Newcastle upon Tyne: Cambridge Scholars Press), pp.25-42, 2009

2009-01-01T00:00:00Z Forsyth, Alison http://hdl.handle.net/2160/2441 2013-05-10T15:39:49Z 2009-01-01T00:00:00Z

Get Real: Documentary Theatre Past and Present Forsyth, Alison Over the past two decades, theatre practitioners across the West have turned to documentary modes of performance-making to confront new socio-political realities. This has led to an astonishing range of performance styles, ways of working and modes of intervention in varied sites of theatrical production. The essays in this collection place this work in context, exploring historical and contemporary examples of documentary and ‘verbatim’ theatre, and applying a range of critical perspectives that elaborate its impact and significance today. Focusing on examples from the US, UK, Canada, Australia, South Africa and the Middle East, this collection raises provocative questions about documentary theatre’s relationship to new technology, media, the body, the archive, memory, autobiography, and national identity. It examines the viability and resonance of documentary theatre in an era of infotainment, globalisation and postmodernity, and explores its past and potential contribution within the public sphere. Contents Acknowledgements Notes on Contributors Introduction; A.Forsyth & C.Megson The Promise of Documentary; J.Reinelt Mediating the 1930s: Documentary and Politics in Theatre Union’s Last Edition (1940); B.Harker History in the Driving Seat: Unity Theatre and the Embrace of the ‘Real’; C.Chambers The Documentary Body: Theatre Workshop to Banner Theatre; A.Filewod Living Simulations: The Use of Media in Documentary in the UK, Lebanon, and Israel; C.Martin Looking for Esrafil: witnessing ‘refugitive’ bodies in I’ve got something to show you; A.Jeffers Remembering the Past, ‘Growing Ourselves a Future’: Community-Based Documentary Theatre in the East Palo Alto Project; L.Smith Ngapartji Ngapartji: Telling Aboriginal Australian Stories; M.Casey Performing Trauma: Race Riots and Beyond in the Work of Anna Deavere Smith; A.Forsyth History, Memory and Trauma in the Documentary Plays of Emily Mann; A.Favorini When Heroes Fall: Doug Wright’s I Am My Own Wife and the Challenge to Truth; N.P.Highberg The Performance of Truth and Justice in Northern Ireland: the Case of Bloody Sunday; C-A.Upton Half the Picture: ‘a certain frisson’ at the Tricycle Theatre; C.Megson Verbatim Theatre in South Africa: ‘living history in a person’s performance’; Y.Hutchison The ‘Broken Tradition’ of Documentary Theatre and its Continued Powers of Endurance; D.Paget Index ALISON FORSYTH is Lecturer in Theatre Studies at Aberystwyth University, UK, and researches into adaptations and staging the real. Her publications include Gadamer, History and the Classics: Fugard, Marowitz, Berkoff and Harrison Rewrite the Theatre (2002). Her current research projects are an anthology of adaptations and The Trauma of Articulation: Arthur Miller's Holocaust Plays. CHRIS MEGSON is Senior Lecturer in Drama and Theatre at Royal Holloway College, University of London, UK. He is currently writing a book on the playwright Sarah Kane and has published a range of essays on post-war British playwriting and performance. Forsyth, Alison; Megson, Chris (eds), Get Real: Documentary Theatre Past and Present (Basingstoke: Palgrave Macmillan, 2009) pp.272 Contents: Acknowledgements - Notes on Contributors - Introduction; A.Forsyth & C.Megson - The Promise of Documentary; J.Reinelt - Mediating the 1930s: Documentary and Politics in Theatre Union’s Last Edition (1940); B.Harker - History in the Driving Seat: Unity Theatre and the Embrace of the ‘Real’; C.Chambers - The Documentary Body: Theatre Workshop to Banner Theatre; A.Filewod - Living Simulations: The Use of Media in Documentary in the UK, Lebanon, and Israel; C.Martin - Looking for Esrafil: witnessing ‘refugitive’ bodies in I’ve got something to show you; A.Jeffers - Remembering the Past, ‘Growing Ourselves a Future’: Community-Based Documentary Theatre in the East Palo Alto Project; L.Smith - Ngapartji Ngapartji: Telling Aboriginal Australian Stories; M.Casey - Performing Trauma: Race Riots and Beyond in the Work of Anna Deavere Smith; A.Forsyth - History, Memory and Trauma in the Documentary Plays of Emily Mann; A.Favorini - When Heroes Fall: Doug Wright’s I Am My Own Wife and the Challenge to Truth; N.P.Highberg - The Performance of Truth and Justice in Northern Ireland: the Case of Bloody Sunday; C-A.Upton - Half the Picture: ‘a certain frisson’ at the Tricycle Theatre; C.Megson - Verbatim Theatre in South Africa: ‘living history in a person’s performance’; Y.Hutchison - The ‘Broken Tradition’ of Documentary Theatre and its Continued Powers of Endurance; D.Paget - Index ALISON FORSYTH is Lecturer in Theatre Studies at Aberystwyth University, UK, and researches into adaptations and staging the real. Her publications include Gadamer, History and the Classics: Fugard, Marowitz, Berkoff and Harrison Rewrite the Theatre (2002). Her current research projects are an anthology of adaptations and The Trauma of Articulation: Arthur Miller's Holocaust Plays. CHRIS MEGSON is Senior Lecturer in Drama and Theatre at Royal Holloway College, University of London, UK. He is currently writing a book on the playwright Sarah Kane and has published a range of essays on post-war British playwriting and performance.

2009-01-01T00:00:00Z