Critical Mass: Sermon for the Church of the Atom (part of A Theatre to Address at Arnolfini, Bristol and Late at Tate Britain)

A Theatre to Address explores the work of contemporary artists who use text as both a visual and sonic form. In this programme, text appears not primarily as a means of communication, but as something which has shape and structure of its own. The Reading Room will also be displaying work that looks at text as concrete or visual poetry, and the script in artists' practice. Clare Gasson presents a new work The traveller - walking walking walking through ... that explores the connection between the text, the rhythm and the action. Maryam Jafri presents a performance-lecture Death With Friends, a body of visual and textual material that forms the basis for her new film of the same name. Pil and Galia Kollectiv present a radical worship for the apocalypse, featuring a sermon for the Church of the Atom with live music by Gelbart.

Watching the words: drama and poems

Some poems are inherently dramatic due to their narrative content or the events, characters, places and emotions that are their subject. Others have the potential for dramatisation because of some aural or visual quality of their poetic form. However, if dramatising poems is to be meaningful and effective children need to be taught something about the art form of drama rather than just being left to their own devices. This chapter explores the learning potential of considering the printed text of a poem as a notation of sound, movement, gesture and use of space. The chapter recognises a progression from simple nursery rhymes to the sophisticated use of poetic language in different types of literature that is mirrored in the journey from infants’ clapping games to the dramatic juxtaposition of aural and visual images in theatre and the performing arts.

The long and the short of it: negotiating the right space for Asian theatre in the university drama curriculum

This article compares two approaches to teaching Asian theatre at undergraduate level in the United Kingdom. One approach samples a variety of different traditions as a means to challenge students to produce performance for a combined audience of hearing and deaf, whereas the other focuses on the effect of exploring one geographical area intensively over the course of one academic year. The article seeks to highlight the merits and pitfalls of both approaches, and questions whether student work that actively questions ethnicity and identity, as well as the tension between innovation and tradition, might be considered diasporic in character.

The experience of immediacy: emotion and enlistment in fact-based theatre

This article discusses emotion as a strategy of political agency in post-Thatcherite documentary theatre. The 1990s saw a renaissance in theatre writing based in directness and immediacy but based in two quite different forms of drama, In-Yer-Face theatre and fact-based drama. There are clear distinctions between these forms: the new brutalist writing was aggressively provocative; documentary theatre engaged the audience by revealing an urgent truth. Both claimed a kind of realism that confronted actuality, be that of situation or experience, through forms of theatre that cultivated emotional engagement. In-Yer-Face theatre used emotional shock to penetrate the numb cynicism that its creators perceived. Documentary theatre used observation and the cultivation of sympathy to enlist its audience in a shared understanding of what was hidden, not understood or not noticed. The article analyses the functioning of emotional enlistment to engage the audience politically in two examples of documentary theatre, Black Watch and Guantanamo