Next London Theatre Seminar, 28 March 2019, 6:30 PM, 11 Bedford Square, Brexit & Theatre, co-sponsored by the ETRNPosted: 21 March 2019
Our next London Theatre Seminar will take place on 28 March 2019 at 6:30 PM, at 11 Bedford Square (RHUL Central London), Room 1-01. Please note remainder of our seminars for Term 2 and 3 will also take place at 11 Bedford Square, owing to the ongoing boycott of UoL Senate House.
Who knows what will happen in the next week, but in any case, we’re excited to host Duška Radosavljević (Royal Central School of Speech and Drama), Mischa Twitchin (Goldsmiths), and Marilena Zaroulia (Winchester) on the subject of Brexit and Theatre. This talk is co-sponsored by the European Theatre Research Network (ETRN).
We hope to see you there!
Broderick, Louise, and Bryce
Duška Radosavljević: A couple of centuries after the rest of Europe, the 21st century (finally) saw the deployment of the word (and profession of) ‘dramaturg’ in British theatre. Thanks to the diversification of theatre-making practices, the use of the word has gone from being carried exclusively by migrant European dramaturgs to being appropriated and cultivated by homegrown talent. Was this just a flash in the pan and what will happen to dramaturgs in British theatre beyond Brexit?
Dr Duška Radosavljević is a dramaturg, academic and Reader in Contemporary Theatre and Performance at the Royal Central School of Speech and Drama. She is the author of Theatre-Making: Interplay Between Text and Performance in the 21st Century (2013) and editor of Theatre Criticism: Changing Landscapes (2016) and The Contemporary Ensemble: Interviews with Theatre-Makers (2013).
Mischa Twitchin: Considering square circles: What might be the differences between contradiction and compromise concerning Brexit? What sense of a “European perspective” is evident in the British government’s approach not only to the Brexit negotiations but also to a future foreign policy? If London is already so parochial with respect to European touring theatre, what difference might Brexit make to its theatre culture? Only three of so many questions, but suggesting some of the material that the forging of square circles has to work with.
Dr Mischa Twitchin is a lecturer in the Theatre and Performance Dept., at Goldsmiths, University of London. His book, The Theatre of Death – the Uncanny in Mimesis: Tadeusz Kantor, Aby Warburg and an Iconology of the Actor is published by Palgrave Macmillan in their Performance Philosophy series; and examples of his own performance- and essay-films can be seen on Vimeo: http://vimeo.com/user13124826/videos.
Marilena Zaroulia: In the period immediately after the June 2016 EU referendum, certain theatre critics ironically raised the question ‘Where were all the plays about Brexit?’ In this talk, I do not intend to answer the misleading question ‘what did theatre do to prevent Brexit?’; such a question demands too much and too little from the theatre. However, the theatre has always taken part in the struggle around notions of British nationhood as distinct to European identities in all their nebulous and conflicting connotations. I am going to refer to specific instances of (obvious and not that obvious) British theatrical Euroscepticism over the past 25 years or so, with a hope to transcend the topicality of the Brexit debate, focusing on how views about Europe have been expressed in British theatre – specifically, British playwriting – and how these might help us think about how we got to the current state of things.
Dr Marilena Zaroulia is a Senior Lecturer in Drama at the University of Winchester. Her research focuses on theatre and the cultural politics of post-1989 Europe. Her work has been published in various international journals and she co-edited Performances of Capitalism, Crises and Resistance: Inside/Outside Europe in 2015. She has recently taken over as Associate Editor for Studies in Theatre and Performance. Her piece about the NT’s ‘My country: A work in progress’ (2017) is forthcoming in the Routledge Companion to Theatre and Politics. This talk draws on research for her monograph Encountering Europe on British Stages: Performances and Politics since 1990 (Bloomsbury).
Next London Theatre Seminar: 28 February 2019, 6:30 PM, 11 Bedford Square, Room 1-01. PG Panel with Raz Weiner (RHUL) and Tara Fateh Irani (Roehampton)Posted: 19 February 2019
Our next London Theatre Seminar will take place on 28 February 2019 at 6:30 PM, at 11 Bedford Square (RHUL Central London), Room 1-01. Please note change of venue owing to the ongoing boycott of UoL Senate House. The remainder of our seminars for Term 2 and 3 will also take place at 11 Bedford Square.
We are delighted to host a themed postgraduate panel on the subject of problematic, difficult, and mishandled archives. We are delighted to welcome Raz Weiner from Royal Holloway, University of London, and Tara Fateh Irani from the University of Roehampton. As usual, start time is 6:30 PM. The seminar will close at 8:30 PM, to reconvene in a local pub. Wine and refreshments will be served in the break.
We look forward to seeing you there!
Broderick, Louise, and Bryce
Who Killed Arlosoroff? The Musical!: Glittering the Archive and Architecture-Drag
In settler-societies that rely on the obfuscation of their colonial constitution and the disavowal of colonial violence, archives are Janus-faced. While offering a vital source for reaffirming imagery of settler-identity and provenance, they simultaneously (and inevitably) record the traces of indigenous existence, history and agency. This duality stands at the centre of my reflexive analysis of an archive-based immersive performance in Tel-Aviv. On the night of October 16th, 1933, Haim Arlosoroff – a leading figure in the Zionist Agency – was shot on Tel-Aviv’s beach and died from loss of blood shortly after. The investigation carried out by the British Mandate police and the public trial that followed it closed with no convictions. Considered to be the first political assassination in Zionist history, there are no less than seven competing theories concerning the identity of the murderers and their motivations. In April 2018, director and designer Yulia Ginis and I created Who Killed Arlosoroff? The Musical! The performance was hosted and supported by the City-House Museum, Tel-Aviv’s first town hall and the historical site of Arlosoroff’s funeral ceremony. In my paper, I unpack the questions and challenges – aesthetic, political as well as logistical – of turning contentious archival materials into an immersive musical performance. I use scholarship of settler-colonialism (Wolfe, Veraciny), reenactment (Schneider, Martin), and archive (Giannachi, Pearson & Shanks) to develop a new understanding of the radical in archive-performance and its manipulation of the document, the authentic, and the affective. Drawing on work done on queer performance (Sieg, Muñoz), fabulousness (Moore), and glamour (Dyhouse, Doonan), I use ‘drag’ and ‘glitter’ as metaphors for the peculiarity of the intervention of Who Killed Arlosoroff? The Musical! in hegemonic regimes of heteronormative, colonial settler-memory.
Raz Weiner is a theatre practitioner and researcher. He is currently completing a PhD at Royal Holloway, University of London. His research applies a combined methodology of archival research, ethnography and autoethnography to the study of ethnic-drag and gender-drag within the power matrix of settler colonialism. He is concerned with the economies of elimination-by-representation in the cultural space of Israel-Palestine and with the decolonising potential of the political aesthetic of drag. Raz is a member of the International Forum for Theatre Research (IFTR) and the Theatre and Performance Research Association (TaPRA), and is an alumnus of the Summer Institution Cologne programme, SIC[!] (University of Cologne and Northwestern University) and Brown International Advanced Research Institute (BIARI). He co-edited the postgraduate journal Platform, based in the Drama, Theatre & Dance Department at RHUL.
Mishandled Archive: Meticulous Dissection / Compulsive Repetition
This project proposes mishandling as an alternative mode of engaging with an archive; an anti-preservational act that disperses the physical archive and embodies its affect. This process creates a new archive: Mishandled Archive; a publicly available collection of ambiguous, unfinished and unbegun stories.
Mishandled Archive is a series of 365 daily micro-performance-installations which I created in public space using my family archive mostly from Iran. Pieces of the archive are left behind in public on the daily paths of people passing by in different cities and landscapes. They are transposed from one geography, culture, time and climate to another. There, fragments from the archive find new meaning and new homes—in the memory of the passersby or sometimes in their homes and on their shelves.
These 365 micro-actions are continued acts of resistance against an amnesia and a disappearance of memories of people, places, stories and sensations. They are also an invitation to use the archive as a vessel for imagining new histories and undefined futures in a transnational and transgenerational space. As the bodies and the faces in the archive are yellowed, tattered, stepped on and wet in the rain or on the corner of the street, their stories expand. Each photograph or document creates new associations in its juxtaposition with the new habitat and in relation to a dance that is devised daily for each piece—more on that when we meet.
Tara Fatehi Irani is a multidisciplinary artist, writer and performance maker working with mistranslated memories and unattended archives. Her work is primarily concerned with the ephemeral interactions between memories, words, bodies and sites, and their inherent mistranslations. Her practice ranges between yearlong daily projects, site-responsive art, performance, dance, audio-visual, installations and writings. From deserted buildings to well-known art centres, her work has appeared in houses, basements, streets, gyms, theatres, galleries, conferences, journals and other publications. Tara is a PhD candidate at the University of Roehampton in conjunction with the Live Art Development Agency. Her practice-as-research project investigates anti-preservational approaches to archives and dissemination of family archives and histories through performative ventures. Alongside her solo practice, she regularly collaborates with other artists and companies currently including Karen Christopher, Station House Opera, Pouya Ehsaei (as /gorizazmakaz/), 30 Bird and Documentation Action Research Collective (DARC). www.tarafatehi.com
Next London Theatre Seminar, 24 January 2019, 6:30 PM: Performing Oceans with Arabella Stanger (Sussex) and Matt Kerr (Southampton)Posted: 11 January 2019
Our first London Theatre Seminar for 2019 will take place on 24 January 2019 at 6:30 PM, at 11 Bedford Square (RHUL Central London), Room 1-01. Please note change of venue owing to the ongoing boycott of UoL Senate House.
We are delighted to host an interdisciplinary panel on “Performing Oceans” with Matt Kerr (Lecturer in British Literature, 1837-1939, University of Southampton) and Arabella Stanger (Lecturer in Drama: Theatre and Performance, University of Sussex). As usual, start time is 6:30 PM. The seminar will close at 8:30 PM, to reconvene in a local pub. Wine and refreshments will be served in the break.
We look forward to seeing you there!
Broderick, Louise, and Bryce
This panel presents new research on oceans and performance from the perspectives of literary studies and of performance and dance studies. Thinking about the sea’s capacity to conceal and be concealed, we explore contemporary works of film and video installation that in various ways reimagine the sea as a (non)place of social dispersal.
As a number of critics have recently pointed out (Urry 2014, Mack 2013, Blum 2010), the most distinctive feature of the sea in modernity is its disappearance. In spite of the surge in international shipping since the nineteenth century, and advances in marine science and oceanography, the sea has faded gradually from view, both literally and figuratively. As Allan Sekula put it in 1995, ‘The metropolitan gaze no longer falls upon the waterfront, and a cognitive blankness follows.’ Thus, although central to histories of trade, exploration, and cultural exchange which have shaped our modern world, oceans are the hidden spaces of modernity, represented as a vast empty terrain, a sublime realm of spiritual purity, or an out-of-sight zone of resource extraction, waste disposal, and dispersal. Using a new short film by the artist Simon Roberts as a test case, and focussing on the port at Southampton as a particular example, this paper takes some steps toward addressing that blankness by considering what strategies of visualisation might be appropriate for representing it. Also drawing on examples from J. M. W. Turner, Jane Austen, and John Keats, I will consider the links between the sea’s occlusion, modernity, labour, sublimity, and boredom.
Matt Kerr is a Lecturer in British Literature from 1837 to 1939 at the University of Southampton. His research centres on Victorian literature and culture. His work on the sea spans both well-known figures— Dickens, Mill, Ruskin—and neglected ones, such as Captain Marryat. His articles have appeared in Essays in Criticism, Review of English Studies, and Dickens Studies Annual, among other places.
‘Bodily Wreckage and the Middle Passage in Sondra Perry’s Typhoon Coming On (2018)’
In Sondra Perry’s installation Typhoon Coming On (2018) a digitally manipulated ocean flows around three walls of London’s Serpentine gallery, drawing visitors into the catastrophic seascape of a nineteenth-century abolitionist painting. The projection reworks J. M. W. Turner’s The Slave Ship (1840), depicting the Zong massacre of 1781 where the captain of a British slave ship threw 133 enslaved people overboard to claim compensation for their loss as ‘property’. A maritime catastrophe revealing antiblackness and finance capital to be co-constitutive phenomena, the Zong massacre provides both artists with the means to contemplate the Atlantic as a site for the transformation of bodily wreckage into economic salvage. This paper focusses on Perry’s remediation of Turner’s painting by thinking through their mobilizations of bodies-in-the-water. Where Turner figures brown limbs as debris in a tormented sea, Perry’s work melts Turner’s scene into a tranquil surround where the absence of detritus calls to the invisibilized, structural violence with which colonial modernity secures its futures. Perry’s is an anti-racist installation that moves its visitors beyond the moral content of Turner’s painting. In her dispersal of bodily wreckage from the Middle Passage, Perry presents that sea-born calamity as neither exceptional event punctuating the history of seafaring nor allegory for the tragedy of the slave trade but as the very foundation of racial capitalism.
Arabella Stanger is Lecturer in Drama: Theatre and Performance at the University of Sussex. Her work moves across dance and performance studies and explores the sociopolitical nature of choreography. Her current book project excavates the histories of spatial and racial dispossession underwriting idealistic dances of the Euro-American theatre dance canon, and she is embarking on new research into histories of maritime protest.
UPDATE: VENUE CHANGE
Tonight’s London Theatre Seminar will now take place at Birkbeck School of Arts, 43 Gordon Square, WC1H 0PD, room G02. This is to respect the current academic boycott of the University of London Senate House.
We are delighted to welcome Alyson Campbell from Victorian College of the Arts, University of Melbourne. As usual, start time is 6:30 PM. The seminar will close at 8:30 PM, to reconvene in a local pub. Wine and refreshments will be served.
We hope to see you there!
Broderick, Louise, & Bryce
Going Feral: queerly de-domesticating the institution (and running wild).
My current work looks at the position of the queer-identifying theatre practitioner-scholar and interrogates their relationship to the academy and, to a lesser extent, the theatre ‘industry’. The queer-identified artist, like the queer-identified researcher, is always functioning in a deeply ambivalent position. What does it mean, when one of the fundamental principles of queer is that it sets itself up against what is normative, for this queer-identified person to exist within, be paid or salaried within, or seek approval from, one or more of these institutions? What happens to (their) queerness? The parallels between theatre and the academy are close and multiple; I suggest this is particularly so around the field of queer Practice as Research (PaR). I will reference some of my recent PaR work on HIV and AIDS in performance, GL RY/WHoLE (Belfast, 2016) and some ‘feral androgogies’ at the Outburst Queer Arts Festival (2018), to argue that the uncomfortably-placed queer artist-scholar might appropriate a feral modus operandi in order to radically de-domesticate the domesticating strictures and privileges of these institutions. In other words, to take the money and knowledge and run wild.
Alyson Campbell is an Associate Professor in Theatre at the Victorian College of the Arts, Faculty of Fine Arts and Music, The University of Melbourne, and is a theatre director. She was co-founder and co-convenor of IFTR’s Queer Futures working group 2011-14. Her research, practice and teaching share a focus on gender and queer theories and performance practices, affect in theatre, dramaturgy, and HIV and AIDS in performance. She has published widely on queer performance, including as co-editor with Stephen Farrier of Queer Dramaturgies: International Perspectives on Where Performance Leads Queer (Palgrave, 2015) and co-editor with Dirk Gindt of Viral Dramaturgies: HIV and AIDS in Performance in the Twenty-First Century (Palgrave, 2018). Alyson collaborates regularly with long-time her creative partner, playwright Lachlan Philpott, through their queer performance assemblage wreckedallProds.
Next London Theatre Seminar: 15 November 2018 at 6:30 PM, with Prarthana Purkayastha (RHUL) and Janet O’Shea (UCLA)Posted: 9 November 2018
Our next London Theatre Seminar will take place on Thursday, 15 November 2018 in the University of London Senate House (Room G26). We are delighted to feature two speakers tonight, Prarthana Purkayastha from Royal Holloway, University of London, and Janet O’Shea, from the University of California Los Angeles. As usual, start time is 6:30 PM. The seminar will close at 8:30 PM, to reconvene in a local pub. Wine and refreshments will be served.
We hope to see you there!
Broderick, Louise, & Bryce
Decolonizing Human Exhibits: dance, re-enactment and historical fiction
This lecture-performance focuses on decolonizing exhibition practices and colonial archives. It begins with a survey of literature on nineteenth-century colonial exhibitions and world’s fairs as a cultural practice and the complicity of academic disciplines such as anthropology and ethnology in promoting violent forms of pedagogy. It examines the failed Liberty’s 1885 exhibition in London, specifically analyzing the nautch dancers whose moving bodies both engaged and disrupted the scopophilia framing such live human exhibits. The talk examines how re-imagining the Liberty’s nautch experiences by embodying archival slippages might be a usefully anarchic way of exhuming the memories of those dancers forgotten by both British and Indian nationalist history. The talk will discuss the structural limitations of reenactments, a current trend in contemporary Euro-American dance, and argues that historical fiction as a corporeal methodology might be a viable decolonizing strategy for dance studies.
Prarthana Purkayastha is Senior Lecturer in Dance at Royal Holloway University of London. Her monograph Indian Modern Dance, Feminism and Transnationalism (2014) won the 2015 de la Torre Bueno Prize from the Society of Dance History Scholars and the 2015 Outstanding Publication Award from the Congress on Research in Dance. She has published in Performance Research, Dance Research Journal, Asian Theatre Journal and CLIO: Women, Gender, History, among others. Prarthana is currently working on the British Academy/Leverhulme funded project ‘Decolonising the Body: Dance and Visual Arts in Modern India.’ Her research examines race, gender and nationhood through dance.
MMA Progressives and Far-Right Fight Clubs: Martial Arts as a Model for Agonistic Democracy
I have spent the last few years writing about physicalized opposition in combat sport, exploring how full contact martial art practices such as sparring and grappling differentiate themselves from violence even as they use the components of violence. In my book, Risk, Failure, Play: What Dance Reveals about Martial Arts Training, I suggest that martial arts provide an opportunity for practicing disagreement with respect, engaging a sense of oppositional civility that neither assumes all viewpoints are equally valid nor that opposition is inherently suspect. As such, when handled with reflection and intention, martial arts have the potential to act as a space where, in Chantal Mouffe’s terms, participants can rehearse agonistics. In the face of rising right-wing populism, opportunities to practice radical democracy are both rare and necessary.
Two recent, unrelated events complicate, and potentially deepen, this consideration of combat sport as a site of agonistic respect: the appearance of far-right mixed martial arts leagues or “fascist fight clubs” and the election of the Sharice Davids, former pro-MMA fighter and grassroots progressive, to Congress. In this talk, I examine the nuances and contradictions that these examples reveal within martial arts practicing, considering if and in what ways combat sport can operate as a practice of radical democracy.
Janet O’Shea is author of Risk, Failure, Play: What Dance Reveals about Martial Arts Training (2018, Oxford University Press) and At Home in the World: Bharata Natyam on the Global Stage (2007, Wesleyan University Press). Recipient of a UCLA Transdisciplinary Seed Grant to study the cognitive benefits of Filipino Martial Arts training, she gave a TEDx Talk on competitive play and has offered keynote presentations at the Martial Arts Studies conference and Dance/Performance in Interdisciplinary Perspective Symposium. Her essays have been published in five languages and seven countries. She is professor of World Arts and Cultures/Dance at UCLA.
Next London Theatre Seminar, 18 October 2018: PG Panel with Martin Young (QMUL) and Jaz Blackwell-Pal (Birkbeck)Posted: 11 October 2018
Our next London Theatre Seminar will take place on Thursday, 18 October 2018 in the University of London Senate House (Room G26). This will be a postgraduate panel featuring Martin Young (QMUL) and Jaz Blackwell-Pal (Birkbeck). As usual, start time is 6:30 PM. The seminar will close at 8:30, to reconvene in a local pub. Wine and refreshments will be served.
We hope to see you there!
Broderick, Louise, & Bryce
Bread and Theatre: Price-Riots and Commodification
The price-riots which disrupted London’s theatres in the mid-eighteenth century have generally been read through the lens of the formation of the public sphere and as the contestation of the relative authority of managers and audiences in theatrical culture. Here, I present price-riots in a different context: as a revealing historical background to more recent debates about theatre’s ambivalent status as a commodity. This perspective helps situate the politically problematic comparison that is often made between theatre riots and bread riots; moving beyond superficial similarity, this paper pursues the relationship between theatre and food through their specific relations of commodification and consumption.
Martin Young is a doctoral candidate and Teaching Associate at Queen Mary University of London. His research focuses on backstage labour and the political economy of the theatre industry. He also works as a freelance lighting and sound technician at a range of London venues.
Generating ‘the joy of Pret’
At Pret a Manger emotional labour is central to the business and its brand. Staff at the chain are expected to provide ‘genuinely’ happy, enthusiastic customer service and their behaviour is both encouraged and measured – for example, by allowing staff to distribute free food to customers of their choosing, and through the use of mystery shoppers and collectivised discipline. Pret’s methods exemplify wider trends within the food and hospitality industry, where increasing emphasis is placed on the creation of ‘experience’, ‘buzz’ and ‘authenticity’. For staff at these businesses, going to work now involves performing desired characteristics, perfecting skills in emotional management and becoming confident in improvisation and interaction. Drawing from recent interviews with Pret employees, this research argues for the similarities between such work and that of classically trained actors in the Stanislavskian tradition, focusing in particular, on the ways in which selfhood and authenticity are conceived of, and enacted, in the workplace.
Jaswinder is a PhD student in Arts and Humanities at Birkbeck College. Her research is interdisciplinary, combining insights from theatre and performance studies with methods from the social sciences to examine the rise of ’emotional labour’ in the service sector, and its similarities with the work of professional actors.
Next London Theatre Seminar: 26 April 2018, Postgraduate Panel with Cathy Sloan (RCSSD) and Sarah Bartley (QMUL) **Please note venue change**Posted: 19 April 2018
Our next London Theatre Seminar will be 26 April 2018 and will be a postgraduate panel with Cathy Sloan (RCSSD) and Sarah Bartley (QMUL).
Owing to the cleaner’s strike at Senate House on 26 April, the seminar will instead take place at Birkbeck School of Arts, 43 Gordon Square, WC1H 0PD, room G10.
As usual, start time is 6:30 PM. The seminar will close at 8:30, to reconvene in a local pub. Wine and refreshments will be served.
We hope to see you there!
Broderick, Louise, and Bryce
‘Pins’, Spoons, Bowls and Gongs: The Materiality of Recoverist Performance.
The phrase ‘people, places and things’ is not just the title of Headlong Theatre’s West End production written by Duncan MacMillan, but is most commonly found in the recovery parlance of Twelve Step recovery meetings. For people in early recovery from addiction, previous associations of human and non-human form are potential triggers for relapse. Nonetheless, it is these past associations that form the very materiality of their lived experience. To move beyond addiction must therefore involve a readjustment in the very fabric of one’s relations in the world.
My performance practice and research is underpinned by an interpretation of affect theory which understands our way of being-in-the-world as an ‘ecology of processes’ (Erin Manning, 2013). I explore applied theatre practice as an ‘affective performance ecology’ that considers how the affective experience of theatre-making may contribute to our capacity to affect and be affected. Combined with practices of recovery from addiction, theatrical performance can generate sensation that can open the potential for change by forming newly imagined relations with people, places or things.
As Jane Bennett (2010) highlighted, the narcissistic reflex of human language and thought underestimates the power of the non-human. Similarly, the ‘things’ in MacMillan’s People, Places, Things are primarily a prop for the exposition of the subjective experience of its main character, Emma. Reflecting on two examples of practice (my collaboration with Simon Mason to stage his autobiography Too Far Too High Too Soon and FK Alexander’s radical sound performance Recovery), I analyse how objects associated with addiction and recovery might become affective agents in socially engaged performance, generating a ‘recoverist’ political affect.
Cathy Sloan has worked as a teacher, facilitator and director/theatre-maker. She was Associate and later Artistic Director of Outside Edge Theatre Company, specialising in performance with and by people in recovery from drug and/or alcohol addiction. Currently she is a PhD candidate at the Royal Central School of Speech and Drama, exploring an affective ecology of theatre-making that supports practices of recovery. She was awarded the TaPRA essay prize 2017 and is also a co-opted member of the TaPRA post-graduate committee 2018.
‘Sitting Idle’: The Prison Workshop and Economies of Participation
A desire to reconceive of prisons as ‘industrious places of productive work’ was central to the UK Coalition government’s penal reforms (MoJ, 2011: 3). In 2012 the then Justice Secretary, Kenneth Clarke, identified prisoners as ‘simply a wasted resource – thousands of hours of manpower sitting idle’ (Clarke, 2012). In this paper, I examine prison performance projects and interrogate how they intervene in and operate alongside the contentious legal status of the prisoner in relation to work, labour, and remuneration. In doing so, I argue that the figure of the paid prisoner participant is generative for understanding the idiosyncratic economies of participation within applied performance more broadly.
I use histories of labour in prison to reflect on the rhetorical and economic transition of the prisoner from idle to industrious and consider how this relates to discourses of instrumentality in applied performance practice. Against this backdrop I explore practices of payment for participants, increased levels of volunteerism among emerging practitioners, and the reproductive labour of non-public prison performances to reveal how the status of worker and non-worker is subverted in this site. This paper points to the ways in which prison arts projects can reconstitute notions of work and, as such, advocates for increased attention to the economic conditions of participation in applied arts practice.
Sarah Bartley recently completed a PhD in Drama at Queen Mary, University of London. She is a visiting lecturer at Queen Mary; Royal Central School of Speech and Drama; and Goldsmiths, University of London. Her research explores artistic representations of the welfare state, with a particular focus on participatory practices engaging unemployed people. She is also a community arts practitioner and has worked with a number of prison arts organisations including Rideout, Unlock Drama, and Shifting Point. Sarah’s work has been published in Research in Drama Education and has been presented at a number of national and international conferences.