Explore This Month's E-Resources - School of Drama: November 2023

In article the author talks about training, theatre, theatre and live art. Topics include the importance of perception, attentiveness, memory, imagination, feeling, and engagement of the various sensory awareness and the process of training that allowed the time and space to listen and to understand what sincerity feels like.

The theater affords us a way to think. It holds, inflects, and problematizes memory, and opens an alternate space within which to interrogate memory as an individual experience and a shared collective phenomenon. This essay interrogates memory as central to the theme, content and form of the theater-making process. Examining the question "How can performance facilitate memory and how can memory facilitate performance?" (Shaughnessy, Nicola. Applying Performance: Live Art, Socially Engaged Theatre and Affective Practice. London: Palgrave, 2012), we analyse the performer's experience in relation to Antonio Damasio's conceptualization of somatic markers and Jane Bennett's notion of "thing-power" to consider the ways in which the body in theater honors the plurality of memory. [ABSTRACT FROM AUTHOR]

The article provides information on the performance series "My Documents," reconceptualised by artist and curator Lola Arias for the online space, where six theatre and performance artists would present one lecture performance each on Zoom and YouTube. Topics include significance of this easy adaptability to online formats, an analysis of how the form was mobilised during the crisis, and different response of theatres in Germany to the pandemic rather than British theatres.

TDR's editors consider the impact of the pandemic on performance, teaching, and the world.

This paper reports on the author's own translation of King Lear, which he directed for the Hong Kong Repertory Theatre in 1993, comparing it to an adaptation by Sun Jiaxiu staged by the Central Academy of Drama in Beijing in 1986. An earlier version of this article was delivered at the Scaena: Shakespeare and his Contemporaries in Performance international conference at St. John's College, Cambridge University, 13-15 August 1997, and was scheduled for publication in an associated volume, which was later aborted, delaying the information which appears here. [ABSTRACT FROM AUTHOR]