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Peter Brook’s The Empty Space famously begins, I can take any empty space and call it a bare stage. A man walks across this empty space whilst someone else is watching him, and this is all that is needed for an act of theatre to be engaged.[1] Playing and Playgoing in Early Modern England: Actor, […]
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‘Have you ever been in a car crash? Unfortunately, unlike the car crash, time will not slow down for us. If anything, we’re accelerating toward disaster’[1] It was the question of whether or not an erect penis was seen on stage that marked, in many respects, where this period began. The transition from the furore […]
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After much hard work and years of lawsuits and other complaints, the United States Congress seems destined finally to update music’s copyright law. The Music Modernization Act passed unanimously in the Senate on September 18 and, having won consent in a similar form from the House of Representatives, is likely to become law in short […]
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The opera house is one of the most successful new building types of modern times. Found all over the world, opera houses usually have three major features: private boxes stacked vertically around an open, central space; an orchestra pit; and a deep stage to hold elaborate scenery. Each of these features has its own history. […]
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The magnificent collection of Samuel Beckett’s manuscripts, notebooks, letters and other material held here at Reading was fundamental to the research for my new book Samuel Beckett and the Visual Arts, which has just come out from Cambridge University Press. To take one example, I vividly remember, early on, calling up a tattered old jotter. […]
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For well over half a century, Caryl Churchill’s plays have been enriching the landscape of British theatre. As David Hare astutely observed on her seventieth birthday celebrations held at the Royal Court in 2008: ‘The principal question you can ask of any artist is: what difference would it have made if they’d never existed? Would […]
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In 2016, as part of our Shakespeare 400 commemorations, we invited the public to submit short play skits inspired by the works of the Bard. In this interview we talk to Ali Kemp and Deborah Klayman, the co-founders of Whoop ‘n’ Wail Theatre Company, who won our competition with their winning entry ‘My Bloody Laundrette’. […]
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To mark this year's International Federation for Theatre Research conference, we asked members of the Theatre Research International editorial board to delve into the archives for articles that shed light on the relationship between performance studies and theatre history.
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