Experiencing Kane: an affective analysis of Sarah Kane's 'experiential' theatre in performance

The article argues for a phenomenological approach to Kane's work in performance. It notes the rise in productions of Kane's work from 2004, and focuses on productions of Crave by 11th Hour Theatre in Melbourne and Acquiesce Speck in Sydney.

Agricultura urbana, condición para el desarrollo sostenible y la mejora del paisaje

Este artículo resulta de investigaciones en torno al “enverdecimiento” de las ciudades y las oportunidades de la agricultura urbana para la alimentación de una población en constante aumento que no trabaja la tierra. También es fruto de actividades de mejora de ambientes urbanos realizadas con la Escuela de Ingenieros Agrónomos de la Universidad Politécnica de Madrid. A través de casos de agricultura urbana, entendiendo por ella el conjunto de prácticas para la producción de alimentos y plantas ornamentales dentro de las ciudades y en sus entornos, se analizan alternativas para la recuperación de espacios construidos e incremento de la calidad de vida de la población. Todo ello se traduce, además, en creación de riqueza y mejora del paisaje urbano, siempre desde criterios de sostenibilidad que favorecen el desarrollo local desde la Cumbre de la Tierra de Río de 1992 y la Conferencia sobre Desarrollo Sostenible Río+20 de 2013.

When Shiels met Liberace: a skirmish with the canon of Irish theatre

Just Shiels, the product of one of the first practice as research programmes undertaken by a theatre professional within the environment of an Irish university, ‘activates’ in performance the archives of the Northern Irish dramatist George Shiels (1881–1949). The play explores Shiels's marginalization from the canon of Irish theatre on grounds of his embodied position as a disabled person, his status as a Northerner writing plays to be performed across the border in the new free Irish state, his geographical peripherality to the centre of theatrical activity in Dublin and his choice of popular forms in his dramaturgy. Just Shiels was first performed in May 2008 at Queen's University Drama Centre, Belfast. This article seeks to explore to what degree Shiels's choice of popular forms and his serious physical impairment might be implicated in his marginalization. It was first delivered as a plenary session to the American Conference for Irish Studies in New York, in October 2008.

“Authentic Reproductions”: Staging the “Wild West” in Modern Irish Drama

This article examines two metatheatrical plays written by playwrights from the north of Ireland that bookend the twentieth century. The first is Ulster Literary Theatre (ULT) playwright Gerald MacNamara’s parodic, “proto-Pirandellian”4 The Mist That Does Be on the Bog (1909), which satirizes the peasant aesthetic of the “Abbey play” of the Irish Revival.5 The second is Marie Jones’s international hit, Stones in His Pockets (1999), a “play-full,” postmodern deconstruction of the commodification of Irish culture in the era of the Celtic Tiger. Although separated by exactly ninety years, the two plays can be connected through their critiques of the cultural politics of nationalism and globalization during the periods of the Irish Revival and the Celtic Tiger, respectively. Moreover, both plays are distinguished by their dramaturgical form, as the political critique of each is corporeally embodied in metatheatrical performance.

The Advent of Modern Irish Drama and the Abjection of Peasant Popular Culture: Folklore, Fairs and Faction Fighting

This paper is part of a larger project in which the author is interested in recovering popular performative traditions and practices that have been occluded by the modernist project of the Irish Revival. This erasure has been compounded by subsequent historiographical paradigms that have reinforced the revivalist narrative of theatre history and excluded indigenous forms, traditions and practices (mumming, rhymers, strawboys) along with the wider performative culture of patterns, wakes, fairs, faction fights etc. This essay subjects to scrutiny what the author sees as a disjuncture between the riotous reality of peasant popular culture and its representation in Revivalist dramas to argue that Irish Theatre Studies needs to develop alternative historiographies of performance and to methodologically engage with theoretical models extant in Performance Studies.

Whose play is it anyway?: Theatre Studies, Translation Studies and translation for the stage

This article explores the historical neglect of translation as a consideration in the study and practice of theatre in the United States and Europe. While the study of literature is fairly strictly divided between English-language and Comparative Literature departments, theatre and drama have shown little concern about language as a barrier to reception of the dramatic text. Arguably, this discrepancy may be traced to a fundamental gap between the perceived status of the novel as a completed work of art and the playtext as work of art in progress, waiting to find its completion in performance.

ArchiBabel: Tracing the Writing Architecture Project in Architectural Education

Though much recent scholarship has investigated the potential of writing in creative practice (including visual arts, drama, even choreography), there are few models in the literature which discuss writing in the context of architectural education. The paper presented here aims to address this dearth of pedagogical research, analysing the cross-disciplinary Writing Architecture Project based in the undergraduate course of the School of Architecture at QUB. Over the course of four years, teaching staff, in partnership with the university's Learning Development Service, technicians and specialist librarians, have addressed an unfortunately persistent struggle for both architecture students and professionals alike to research and construct argument in written form. The paper examines the current problem as identified in the literature before analysing the efficacy of the variety of teaching methods used in the Writing Architecture Project, with conclusions about the project’s success and continuing challenges.

Assessing and measuring impact of a digital collection in the humanities: An analysis of the SPHERE (Stormont Parliamentary Hansards: Embedded in Research and Education) Project

Although a substantial corpus of digital materials is now available to scholarship across the disciplines, objective evidence of their use, impact, and value, based on a robust assessment, is sparse. Traditional methods of assessment of impact in the humanities, notably citation in scholarly publications, are not an effective way of assessing impact of digital content. These issues are problematic in the field of Digital Humanities where there is a need to effectively assess impact to justify its continued funding and existence. A number of qualitative and quantitative methods exist that can be used to monitor the use of digital resources in various contexts although they have yet to be applied widely. These have been made available to the creators, managers, and funders of digital content in an accessible form through the TIDSR (Toolkit for the Impact of Digital Scholarly Resources) developed by the Oxford Internet Institute. In 2011, the authors of this article developed the SPHERE project (Stormont Parliamentary Hansards: Embedded in Research and Education) specifically to use TIDSR to evaluate the use and impact of The Stormont Papers, a digital collection of the Hansards of the Stormont Northern Irish Parliament from 1921 to 1972. This article presents the methodology, findings, and analysis of the project. The authors argue that TIDSR is a useful and, critically, transferrable method to understand and increase the impact of digital resources. The findings of the project are modified into a series of wider recommendations on protecting the investment in digital resources by increasing their use, value, and impact. It is reasonable to suggest that effectively showing the impact of Digital Humanities is critical to its survival.

“Shall we playe the good girles”: Playing Girls, Performing Girlhood on Early Modern Stages

This essay investigates the extent to which girlhood functions as a queer category in two theatrical representations of schoolgirls in early seventeenth-century England. It focuses on the depictions of schoolgirls in the anonymous The Wit of a Woman (1604), written for the all-male stage of the professional theatre, and in Robert White’s masque, Cupid’s Banishment (1617), performed by the young Ladies of Deptford Hall before Queen Anna of Denmark, to examine the intersections of age, gender, sexuality and education in early modern concepts of girlhood. Situating these plays within wider debates about female education and the history of the contested role of performance in the schooling of early modern girls, it argues that they deploy the category of girlhood to demonstrate the subversive potential of educating girls. Yet, this essay proposes, these plays simultaneously reveal the potential agency of young women who manipulate girlhood to claim their distinct sexual, aged and gendered states as girls. It argues that early modern girlhood is a state that might be performed by young women to disrupt normative expectations of feminine behaviour and desire. Placing dramatic representations of schoolgirls and the experiences of schoolgirls on the early modern stage side by side, this essay demonstrates that the schoolroom and performance are sites in which this transgressive potential is realised.

Processing the Peace:An Interview with Teya Sepinuck

In this interview, Teya Sepinuck, the Artistic Director of Theatre of Witness reflects not only on her first two projects in Northern Ireland, but also vividly illustrates her way of working by evoking seminal moments in her previous practice. Although, she has resisted attempts to systematise the Theatre of Witness process, preferring to see it as a set of principles rather than a fixed methodology, these principles have given rise to clear guidelines that have come to govern the process through which she works. As the interview illustrates, Sepinuck, a Jewish Buddhist, has no hesitation in explaining her approach within the framework of a humanist ‘spirituality’ that explicitly deploys Judeo-Christian terminology. She invites discussion of each participant's ‘prayer-life’ and positions herself primarily as a listener rather than an interlocutor. The introduction to the interview contextualises Sepinuck's practice in relation to her previous work and other drama-based interventions in Northern Ireland. Concerns that the lack of critical distance between the tellers and their stories inhibits those who see it from freely engaging with it as they might with a fictionalised account, are also critiqued. In the interview, Sepinuck directly addresses the risk of the commodification of her work, explaining the safeguards in place to protect the participants, who have repeatedly asserted how beneficial they have found their involvement in the work to be. The sense of autonomy and empowerment that emerges from these responses represent a persuasive challenge to concerns that they are passive instruments of the Theatre of Witness process.