Theatre and Performance Studies News
"Contemporary Plays by African Women" launches in collaboration with the Belgrade Youth Group
Yvette's co-edited collection of Contemporary Plays by African Women will be launched in collaboration with the Belgrade Youth Group at two events - at the Belgrade Theatre in Coventry on Thursday 21st February, and Oxford Playhouse on 22nd February, for details see
http://www.belgrade.co.uk/event/contemporary-plays-by-african-women
|
Contemporary Plays By African Women at Belgrade Theatre As part of a new partnership between the Belgrade Theatre and Warwick University’s African Women’s Playwright Network, select participants from our Youth Theatre will present extracts from Contemporary Plays by African Women due to be published by Methuen in January 2019.. The evening takes on an interactive form, embracing and encouraging discussion and debate around where and how the ... |
https://www.oxfordplayhouse.com/whats-on/all-shows/contemporary-plays-by-african-women/11997
|
|
Contemporary Plays by African Women - oxfordplayhouse.com A free event from the African Women Playwright's Network |
New Publication: 'Dramatic Evolutions/Bodily Violations' by Nadine Holdsworth
Nadine Holdsworth (2019) 'Dramatic Evolutions/Bodily Violations', British Literature in Transition 1980-2000: Accelerated Times, ed. by Eileen Pollard and Berthold Schoene, Cambridge: Cambridge University Press, pp. 76-90
Emine Fişek joins the department as an IAS Visiting Fellow
Emine Fişek joins the department as an IAS Visiting Fellow
Fişek’s current research project asks: what is the relationship between theatre and memory in contemporary Turkey? Both domains have undergone significant shifts in the twenty-first century. In a national context historically dominated by centrally funded state and municipal theatre institutions, recent years have witnessed the proliferation of “alternative theatres”: small, independent ventures that seek new forms of theatrical expression and explore thorny issues of national memory and cultural identity. Meanwhile, political developments in the new millennium have contested the foundations of Turkey’s modernization project, producing new readings of the country’s past. In her research, Fişek asks how alternative theatre has responded to this shifting terrain through a focus on theatre and gentrification, examining how artists depict the relationship between urban history and public memory, and how they negotiate their own involvement in processes of migration and urban transformation.