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Theatre and the politics of engagement
Author: Simon Parry

This book is about science in theatre and performance. It explores how theatre and performance engage with emerging scientific themes from artificial intelligence to genetics and climate change. The book covers a wide range of performance forms from the spectacle of the Paralympics Opening Ceremony to Broadway musicals, from experimental contemporary performance and opera to educational theatre, Somali poetic drama and grime videos. It features work by pioneering companies including Gob Squad, Headlong Theatre and Theatre of Debate as well as offering fresh analysis of global blockbusters such as Wicked and Urinetown. The book offers detailed description and analysis of theatre and performance practices as well as broader commentary on the politics of theatre as public engagement with science. It documents important examples of collaborative practice with extended discussion of the Theatre of Debate process developed by Y Touring theatre company, exploration of bilingual theatre-making in East London and an account of how grime MCs and dermatologists ended up making a film together in Birmingham. The interdisciplinary approach draws on contemporary research in theatre and performance studies in combination with key ideas from science studies. It shows how theatre can offer important perspectives on what the philosopher of science Isabelle Stengers has called ‘cosmopolitics’. The book argues that theatre can flatten knowledge hierarchies and hold together different ways of knowing.

Paul Salzman

Hythlodaeus. The actual narrative of the New Atlantis simply begins: ‘We sailed from Peru, (where we had continued by the space of one whole year), for China and Japan, by the South Sea; taking with us victuals for twelve months; and had good winds from the east, though soft and weak, for five months’ space and more’ (457). Here we have the typical beginning of many a travel narrative. For example, ‘The Discovery of Guiana’, by Sir Walter Ralegh, in Richard Hakluyt’s influential collection of English voyages, opens: ‘On Thursday the 6. of February in the yere 1595. we

in Francis Bacon’s <i>New Atlantis</i>
James Thompson

‘sensate democracy’ in Butler’s terms. While the examples I examine here are small in scale, somehow these moments opened up something wider and therefore, they suggest something grander as potential sources for gentler, kinder forms of inter-human relations. They were glimpses of an aesthetics of care, and, maybe, hints of a more hopeful, equitable way of being together. The Grandchildren of Hiroshima In April 2015, the London Bubble Theatre was working on a new performance piece in Hiroshima, Japan called The Grandchildren of Hiroshima as part of a project to

in Performing care
Open Access (free)
The Australian and New Zealand repertoires and fortunes of North American performers Margaret Anglin, Katherine Grey and Muriel Starr
Veronica Kelly

1930 reveals scant examples of the phrase ‘emotional actor’. It was awarded to the great Italian tenor Fiorelli Giraud in I Pagliacci (1901) in Melbourne11 and to the Dutch cellist August van Biene, who performed in his own playlet The Broken Melody over four thousand times.12 As the 1920s proceed, the sole local occurrences of the phrase are found in the country press, and applied only to such film actors as Sessue Hayakawa, ‘the famous Japanese emotional actor’ (The Emotional and natural ­169 17  Katherine Grey, commercial postcard. Call of the East), Henry B

in Stage women, 1900–50
Open Access (free)
Irish poetry since 1990
Jerzy Jarniewicz and John McDonagh

voices, including Paula Meehan, Sinéad Morrissey, Vona Groarke, Catriona O’Reilly, Tom French and Justin Quinn, have since emerged – the poets of the two Ulster generations have all been producing an important body of work in the period since 1990. As with Heaney and Carson, the last decade of the century was particularly fruitful for Michael Longley, who broke his long silence with a sequence of exciting new collections: Gorse Fires (1991), The Ghost Orchid (1995), The Weather in Japan, winner of the T.S. Eliot Prize (2000), and Snow Water (2004). Paul Muldoon opened

in Irish literature since 1990
Open Access (free)
Continuous theatre for a creative city
David Calder

competition, first from Britain and Scandinavia, then from Japan and South Korea. In 1955, ACL merged with shipyards in Normandy to become the Chantiers réunis Loire-Normandie (CRLN). Just six years later, in 1961, this shipyard merged with the ACB to form the Ateliers et Chantiers 144 Working memories de Nantes (ACN). The ACN became the Société financière et industrielle des Ateliers et Chantiers de Bretagne (SFI-ACB) in 1966. Finally, SFI-ACB ceded all its shipbuilding activities to Dubigeon in 1969, and Dubigeon moved from the Chantenay location it had occupied since

in Street theatre and the production of postindustrial space
Colonialism, Jewishness and politics in Bacon’s New Atlantis
Claire Jowitt

the authenticity and credibility of his narrative. In the 1620s Europeans still did not know the scope of America. French and English colonial outposts were dotted in a piecemeal fashion along North America’s eastern coastline, and the Portuguese and Spanish in particular had established sizeable settlements in South America.13 Indeed, the occasion for the New Atlantis is its accidental discovery by Spanish tars attempting to sail from Peru to China and Japan. However, America’s Western coastline and, in particular, the continent’s interior, had only been sketchily

in Francis Bacon’s <i>New Atlantis</i>
Open Access (free)
White fragility and black social death
Ylva Habel

. We were natural clowns. In late October, Oivvio Polite and Joanna Rubin-​ Dranger revealed that important parts of the fierce resistance against our critique had been motivated by Wirsén’s large-​scale business interests launched in twelve countries via an Internet-​based licence company (Rubin-​Dranger, 2012b). ‘Brokiga är business’ [‘Brokiga is business’], Polite stated, adding that the product line was extra popular in Japan (2012b). Others, whose identities I am not at liberty to reveal, drew attention on social media to the fact that preceding her visit to

in The power of vulnerability
Open Access (free)
A theatre maker in every sense
Brian Singleton

an ‘oriental woman’: ‘I remember arriving home very late one night, or morning, after a long rehearsal. I went into the bedroom, and there on the bed, sound asleep, with a wonderful headdress, a Japanese girl. It was Lil’ (Asche, 1929: 105–6). Orientalism on the London stage by that time was extremely fashionable, particularly in musical comedy from the late 1880s onwards. It reached its apogee in the Edwardian period, with its excuse for an exoticism particularly in costume design, stage spectacle and plots of English woes and travails mapped on to ‘oriental

in Stage women, 1900–50
The ambivalence of queer visibility in audio- visual archives
Dagmar Brunow

Welfare in 1977, remarkably enough from its budget for birth control education. When Eva and Maria was screened in Japan at a UNESCO health conference, it was distributed alongside guidelines for teaching, which state: Homosexuals often feel that, rather than their sexual or emotional preferences being problematic, the attitudes in the surrounding world cause difficulties … The few times homosexuality is represented in media, criminality and illness are often part of the picture. We want to turn the debate to focus on homophobia (fear of homosexuals) instead. (Ryberg

in The power of vulnerability