Interventions, Autumn 2019

Editorial by Broderick Chow, Aneta Mancewicz, Ella Parry-Davies, Bella Poynton, and Eleanor Roberts

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An Interview with Hancock and Kelly

Hancock and Kelly, interviewed by Jennie Klein, on their new performance, An Extraordinary Rendition, with accompanying photos and video excerpts.

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Thinking Through and With Learning Disability

In the context of her work with Cyrff Ystwyth, a dance-theatre company, Margaret Ames examines kinaesthesic action as an affective and cultural tool that challenges hegemonic distribution of inclusion.

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Playing Politics: Versatile Operations in Site-Adaptive Performance

Melanie Kloetzel’s post-script ‘Playing Politics’ elaborates on her proposals for site-versatile approaches in performance, which may work to self-reflexively critique conditions of precarity in the neoliberal present.

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Austerity, Gender and Performance: Conversations with Anna Herrmann and Katherine Chandler

Drawing on interviews with Clean Break’s co-artistic director Anna Herrmann and playwright Katherine Chandler, Sarah Bartley reflects on representations of women in poverty on the UK stage.

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We Need to Talk About (How We Talk About) Audiences

Kirsty Sedgman presents a commentary on Tomlin’s Political Dramaturgies and Theatre Spectatorship, engaging with debates and misunderstandings between empirical and theoretical spectatorship research.

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Interventions, Summer 2019

Broderick D.V. Chow, Ella Parry-Davies and Aneta Mancewicz introduce CTR’s new Interventions Postscripts initiative.

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Rantin and Raving: an interview with Kieran Hurley

In this filmed conversation, David Overend thinks aloud with playwright Keiran Hurley about scales of connectivity linking theatre audiences to an aspirational political collective.

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In space, nobody can hear you say you didn’t “get” it: theatre, science fiction, and genre snobbery

Ian Farnell looks at the idea of “genre snobbery” in relation to contemporary theatre engaging with science fiction. Because in space, nobody can hear you say you didn’t “get” it.

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Life in Post-Totalitarian East-Central Europe and the Problems of Participation

Amy Bryzgel examines examples of participatory art in communist Eastern Europe, showing how artists in different countries deployed a range of inventive methods to subvert their surveillance states.

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Safety, Risk and Speculation in the Immersive Industry

Anticipating the opening of Hartshorn – Hook and Alexander Wright’s immersive adaptation of The Wolf of Wall Street, Adam Alston explores ideas of safety, risk, and speculation in the immersive experience industry.

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Interventions

Broderick Chow and Ella Parry-Davies introduce this set of interventions onTransnational Physical Cultures – three terms that are by their nature slippery and contested.

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Shadow/Boxing

Robyn Mayol and Ella Parry-Davies’ soundwalk ‘Shadow/Boxing’ takes us on a journey through east London’s Bethnal Green, ghosted by the voices of participants in a Muay Thai-based social care group.

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Leaving a Secret Place

In his performative text ‘Leaving a Secret Place’, Raafat Majzoub explores how to shift through transitions between the competing fictive worlds of the powerful and the marginalised.

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“It’s Your Whole-Ass Body!”

In this interview, Kelechi Okafor – owner of South London dance studio Kelechnekoff – discusses the transnationalism of twerk, anti-racism and black advocacy in fitness, and transformation in physical culture.

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The Dynamic Tensions Physical Culture Show

Broderick Chow presents documentation from The Dynamic Tensions Physical Culture Show, performed at the Anatomy Museum, King’s College London, and explains its intervention into the history of physical culture and fitness.

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Interventions 28.3 (October 2018)

Alongside this special issue on “Feminisms Now”, these online Interventions celebrate the formal and conceptual diversity of both feminist performance and scholarship.

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Reclaiming “Whatever!”: Half Straddle as Exemplar of Contemporary Feminist Theatre

Some of New York company Half Straddle were once students of Gwendolyn Alker; now she takes her current students to see their work. Here she reflects on their ‘gloriously queer’ aesthetics and lineages of feminism.

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“Let me be part of the narrative” – The Schuyler Sisters ‘almost’ feminist?

With its hip-hop aesthetics and colour conscious casting, Lin Manuel Miranda’s Hamilton: An American Musical is an international phenomenon – but, Clare Chandler asks, what agency does it give its female characters?

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Because softness means being careful with one’s self

“Because softness means being careful with one’s self”, an audio work by Jessica Worden, both describes and enacts an aesthetics (and ethics) of softness, vulnerability and care.

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