Voice, body and the transmission of the real in documentary theatre

This article analyses how listening is used to develop performances in Alecky Blythe’s verbatim theatre. Listening includes Blythe’s use of recorded oral interviews for devising performances, and also the actors’ creation of performance by precisely imitating an interviewee’s voice. The article focuses on listening, speaking and embodiment in London Road, Blythe’s recent musical play at London’s National Theatre, which adopted and modified theatre strategies used in her other plays, especially The Girlfriend Experience and Do We look Like Refugees. The article draws on interviews with performers and with Blythe herself, in its critical analysis of how voice legitimates claims to authenticity in performance. The work on Blythe is contextualised by brief comparative analyses. One is Clio Barnard’s film The Arbor, a ‘quasi-documentary’ on the playwright, Andrea Dunbar which makes use of an oral script to which the actors lip-sync. The other comparator is the Wooster Group’s Poor Theater, which attempts to recreate Grotowski's Akropolis via vocal impersonation. The article argues that voice in London Road both claims and defers authenticity and authority, inasmuch as voice signifies presence and embodied identity but the reworking of speech into song signals the absence of the real. The translation of voice into written surtitles works similarly in Do We Look Like Refugees. Blythe’s theatre, Barnard’s film and The Wooster Group’s performances are a useful framework for addressing questions of voice and identity, and authenticity and replication in documentary theatre. The article concludes by placing Blythe’s oral texts amid current debates around theatre’s textual practices.

Literal and extended use of kinship terms in documentary papryi

Kinship terms in papyrus letters do not always refer to actual relatives and so pose many problems for modern readers. But by examining all the kinship terms in six centuries of letters it is possible to discover some rules governing the use of kinship terms: in some situations they appear to be always literal, and in others they appear to be almost always extended, though a third group of contexts remains ambiguous. The rules are complex and depend on the particular kinship term involved, the date of writing, the use of names, the position of the kinship term in the letter, and the person to whom it connects the referent.

Scales and voices in World Historical Archaeology

This paper briefly sets the scene for the articles that follow, introducing some key debates that have characterized the recent practice of historical archaeology. The definition of historical archaeology is explored according to parameters of chronology and methodology, drawing a distinction between New World traditions that define the subject as 'post-Columbian' and Old World approaches that establish broader connections with the 'documentary archaeology' of all literate societies. Current issues in European and American historical archaeology are highlighted, including the gradual breakdown of the medieval/post-medieval divide and the call for a global 'modern-world archaeology' to address the 'grand historical narratives' of the period, such as capitalism, economic improvement, and consumerism. The resistance to this global research agenda is explored with reference to archaeologies of diaspora and postcolonialism, which demand local perspectives to explore diversity and meaning. Finally, the innovative use of community archaeology and multi-vocality is introduced, with particular reference to the experimental narratives pursued by American historical archaeologists, in their new role as 'storytellers'.

Introduction: scales and voices in world historical archaeology

This paper briefly sets the scene for the articles that follow, introducing some key debates that have characterized the recent practice of historical archaeology. The definition of historical archaeology is explored according to parameters of chronology and methodology, drawing a distinction between New World traditions that define the subject as 'post-Columbian' and Old World approaches that establish broader connections with the 'documentary archaeology' of all literate societies. Current issues in European and American historical archaeology are highlighted, including the gradual breakdown of the medieval/post-medieval divide and the call for a global 'modern-world archaeology' to address the 'grand historical narratives' of the period, such as capitalism, economic improvement, and consumerism. The resistance to this global research agenda is explored with reference to archaeologies of diaspora and postcolonialism, which demand local perspectives to explore diversity and meaning. Finally, the innovative use of community archaeology and multi-vocality is introduced, with particular reference to the experimental narratives pursued by American historical archaeologists, in their new role as 'storytellers'.

Commercial reviews in the tender process of contractors

Purpose – The purpose of this paper is to show the extent to which clients amend standard form contracts in practice, the locus of the amendments, and how contractors respond to the amendments when putting together a bid. Design/methodology/approach – Four live observational case studies were carried out in two of the top 20 UK construction firms. The whole process used to review the proposed terms and conditions of the contract was shadowed using participant observation, interview and documentary analysis. Findings – All four cases showed strong evidence of amendments relating mostly to payment and contractual aspects: 83 amendments in Case Study 1 (CS1), 80 in CS2, 15 in CS3 and 29 in CS4. This comprised clauses that were modified (37 per cent), substituted (23 per cent), deleted (7 per cent) and new additions (33 per cent). Risks inherent in the amendments were mostly addressed through contractual rather than price mechanisms, to reflect commercial imperatives. “Qualifications” and “clarifications” were included in the tender submissions for post-tender negotiations. Thus, the amendments did not necessarily influence price. There was no evidence of a “standard-form contract“ being used as such, although clients may draw on published “standard-form contracts” to derive the forms of contract actually used in practice. Practical implications – Contractors should pay attention to clauses relating to contractual and financial aspects when reviewing tender documents. Clients should draft equitable payment and contractual terms and conditions to reduce risk of dispute. Indeed, it is prudent for clients not to pass on inestimable risks. Originality/value – A better understanding of the extent and locus of amendments in standard form contracts, and how contractors respond, is provided.

How contractors price risk in bids: theory and practice

Formal and analytical models that contractors can use to assess and price project risk at the tender stage have proliferated in recent years. However, they are rarely used in practice. Introducing more models would, therefore, not necessarily help. A better understanding is needed of how contractors arrive at a bid price in practice, and how, and in what circumstances, risk apportionment actually influences pricing levels. More than 60 proposed risk models for contractors that are published in journals were examined and classified. Then exploratory interviews with five UK contractors and documentary analyses on how contractors price work generally and risk specifically were carried out to help in comparing the propositions from the literature to what contractors actually do. No comprehensive literature on the real bidding processes used in practice was found, and there is no evidence that pricing is systematic. Hence, systematic risk and pricing models for contractors may have no justifiable basis. Contractors process their bids through certain tendering gateways. They acknowledge the risk that they should price. However, the final settlement depends on a set of complex, micro-economic factors. Hence, risk accountability may be smaller than its true cost to the contractor. Risk apportionment occurs at three stages of the whole bid-pricing process. However, analytical approaches tend not to incorporate this, although they could.

An experimental approach to project risk identification and prioritization

One of the aims of a broad ethnographic study into how the apportionment of risk influences pricing levels of contactors was to ascertain the significant risks affecting contractors in Ghana, and their impact on prices. To do this, in the context of contractors, the difference between expected and realized return on a project is the key dependent variable examined using documentary analyses and semi-structured interviews. Most work in this has focused on identifying and prioritising risks using relative importance indices generated from the analysis of questionnaire survey responses. However, this approach may be argued to constitute perceptions rather than direct measures of the project risk. Here, instead, project risk is investigated by examining two measures of the same quantity; one ‘before’ and one ‘after’ construction of a project has taken place. Risks events are identified by ascertaining the independent variables causing deviations between expected and actual rates of return. Risk impact is then measured by ascertaining additions or reductions to expected costs due to the occurrence of risk events. So far, data from eight substantially complete building projects indicates that consultants’ inefficiency, payment delays, subcontractor-related problems and changes in macroeconomic factors are significant risks affecting contractors in Ghana.