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Nicholas Johnson

suggests that Play structurally invited adaptation, pushed at technological limitations, and challenged the boundaries of theatre. In the first wave of its performance history, lasting approximately from composition to the end of Beckett's life, Play also tended to reveal salient features of the medium in which it was presented, whether it appeared in a theatre or made the transition into recorded or broadcast media. Revolutionary changes in media technologies, underway at the time of Play 's composition but pervasive since

in Beckett and media
Open Access (free)
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.

Open Access (free)
Maggie B. Gale and Kate Dorney

autobiographical memoir’ (Clay, 2006: 2). She acknowledges an additional ‘recuperative dimension to this study to make “forgotten” lives and writings newly visible’ (2006: 2). In many ways our collection shares her approach to a similar range of sources, but rather than merely ‘recuperating’ forgotten lives, we seek to ask, and explore the complexities of, why these lives or works might be ‘forgotten’ and what the processes of their forgetting can tell us about historiographical practices in relation to theatre and performance histories more generally. The theatre workers

in Stage women, 1900–50
Gumboot dance in South Africa
Dana Mills

formation of teams which would rehearse and compete in performance with teams from other compounds. The use of this dance as a tourist attraction has 70 70 Dance and politics also led to the understanding, in some areas, of the dance as manipulated by white people (Muller and Fargion 1999). From its inception and throughout its performance history the dance exhibited the disciplining of the African population by the white population in South Africa. Gumboot dance, then, not only imitated and performed the politics of inequality that circumscribed the miners’ lives

in Dance and politics
Theatre of Debate
Simon Parry

positions in relation to particular scenarios might be informed by particular emotional dynamics, family experiences, national 108 Science in performance histories (e.g. of eugenics), religious beliefs and other factors, as I have tried to outline in relation to The Gift and Dayglo in particular. Brian, an oncology nurse, treats and befriends Evelyn in Dayglo and his apparent wisdom and skill are rooted as much in his campy humour and ability to relate to both Evelyn and Stella as they are in his technical understanding of cancer genetics. In an opening scene of the

in Science in performance