Guggenheim-winning artist and theatre-maker Lois Weaver gives intimate insight into her life and work as a performance artist, exploring themes of class, gender politics and sexuality. Weaver discusses her process, explaining why the layering of aesthetics and narratives is so integral to her work.
Celebrated director and scenographer Pamela Howard gives a history of scenography in practice, including insights into the early days of the Prague Quadrennial. She explores the political and artistic importance of international collaboration and discusses in detail her seminal book, What is Scenography.
In this fascinating discussion, Artistic Director of Tara Arts Jatinder Verma covers everything from ethnicity and migration to pantomime and verbatim theatre. Verma considers how classic texts can be reworked for contemporary audiences and concludes by explaining how Black Theatre Live enables and empowers artists to find a space for their work.
Writer Daniel Rosenthal discusses the various ways to analyse and engage with Shakespeare’s The Tempest in three different stages: reading, watching and writing about the play.
James Graham explores how his own life has inspired and influenced his writing and explains how he uses curious events from history to shed new light on the world in which we live today.
In intimate detail, Michael Frayn describes how his research process unfolds when writing a new piece work, with particular reference to his historical plays Copenhagen, Democracy and Afterlife.
Moira Buffini explores how she works with the past to write about the present, with particular reference to her World War II play Gabriel, which emerged out of a desire to write about the lives of women during the war.
Through the prism of four key plays - Dealer’s Choice, Closer, Howard Katz and The Red Lion - Patrick Marber gives intimate insight into his life and career, from his early days experimenting with comedy at Oxford to becoming an Olivier Award-winning playwright.
Willy Russell shares what he has learnt about what it takes to write a play with fascinating insight into his own life and career. He explores several of his key works in vivid detail, including Educating Rita, and gives a reading from Shirley Valentine.
Actor Ray Fearon brings the character of Othello to life by combining readings from Shakespeare’s text with intimate insights into his own experience of playing the Moor. He considers how Othello swings like a pendulum between love and hatred, and how the opposing use of verse and prose consolidates this effect.
In forensic detail, and by unpacking the layers of disguise embedded within the play, actor Zoe Waites analyses the language and rhythms of Shakespeare’s Twelfth Night and considers how these tools help bring the character of Viola to life.
Having been named one of the most influential people in British theatre, Vicky Featherstone discusses her path to success, from her role as Artistic Director of touring company Paines Plough to leading the National Theatre of Scotland and her current position with the Royal Court Theatre in London.
Playwright and novelist Barney Norris, whose recent work includes Nightfall at Nicholas Hytner’s Bridge Theatre, gives an honest depiction of his experience as a young writer, from studying English Literature at university to working with British theatre company Out of Joint.
John Godber, one of the most performed playwrights in the UK, delves into his process for creating work that focuses on the plight of individuals who suffer judgement and misfortune as a result of class prejudice.
Writer, actor and director Patrick Barlow provides a unique insight into his theatre-making process, from the creation of his comedic double-act The National Theatre of Brent to the physical and fast-paced adaptation of the Alfred Hitchcock film and John Buchan novel The 39 Steps.
Writer Andrew Davies, best-known for adapting some of literature’s greatest novels for television, such as Jane Austen’s Pride and Prejudice and Leo Tolstoy’s War and Peace, discusses the cinematic potential of language and the process of bringing words to life on screen.
British writer Lee Hall discusses the processes for creating some of his most popular works, such as the ground-breaking radio drama Spoonface Steinberg, the play of The Pitmen Painters based on the Ashington Group, and the film and musical adaptation of Billy Elliot.
In this inspiring and extraordinary exchange of ideas, Professor Carol Chillington Rutter, editor of Clamorous Voices: Shakespeare’s Women Today, revisits the seminal book with one of its most celebrated interviewees, Harriet Walter. With reference to Walter’s subsequent career and, more recently, her foray into playing male roles, the two explore Shakespeare’s characters and plays in fascinating detail.
Playwright Tanika Gupta discusses her writing process, inspiration and passion for adapting Meera Syal’s semi-autobiographical novel, Anita and Me, as well as exploring her career progression from radio dramas to stage plays.
Writer and director Polly Teale discusses her experience of dramatising the lives of the Brontë sisters, elaborating on the challenges they faced as women in the 19th century and examining the representation of their inner worlds through their work.
Diane Samuels takes an in-depth look at her award-winning play Kindertransport, exploring how real-life people and experiences helped to inspire its creation, and considers the importance of telling female stories.
Simon Godwin, Associate Director at the National Theatre, unravels the intricate layers of Pat Barker’s Regeneration and discusses his directorial intentions for staging Nicholas White’s adaptation at the Royal & Derngate theatre, Northampton, in 2014.
In this personal account of his life and work, Thomas Richards talks about art, identity, his time as a student at Yale University, his apprenticeship with Jerzy Grotowski, and his eventual inheritance of the Workcenter in Pontedera, Italy.
Stubbs and Stewart intricately explore Andrew Bovell’s script, animatedly discussing fresh textual interpretations of the play’s key scenes, in an analysis that develops in front of the camera.
Oswald explores the symbiotic responsibility of opening the play to an audience in soliloquy, inviting them as friends on a shared journey, while coming to terms with and conveying the emotional singularity of her own story.