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.
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
‘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
The Australian and New Zealand repertoires and fortunes of North American performers Margaret Anglin, Katherine Grey and Muriel Starr
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
17 Katherine Grey, commercial postcard.
Call of the East), Henry B
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
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
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
Colonialism, Jewishness and politics in Bacon’s New Atlantis
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
. We were natural clowns.
In late October, Oivvio Polite and Joanna Rubin-
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
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
The ambivalence of queer visibility in audio- visual archives
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