This remarkable archival footage of early games and workshops run by Augusto Boal around the world shows the transformative, liberating nature of his work. Exploring three of his main methods – Invisible Theatre, Forum Theatre and Legislative Theatre – this documentary by Jeanne Dosse explains how each of these methods work in practice.
Instituto Augusto Boal
Jonnie Riordan, Associate Director of Frantic Assembly's Things I Know To Be True, takes you through six warm-up exercises and provides detailed aims and instructions for use in the classroom. The exercises vary from a fun 'keepie uppie' introduction, through to more demanding cardio and circuit training sessions, all of which are geared towards developing teamwork, stamina, physical confidence and focus.
This extensive and exclusive interview with Eric Bentley, conducted by Professor Anna Furse in 2015, is a unique insight into the life and work of one of Bertolt Brecht’s closest collaborators, shedding significant light on the enduring power of the work, the ideas and the politics of a remarkable moment in history.
This exclusive collection of interview footage charts Augusto Boal’s entire career and influence around the world, giving unique insights into the development of his thought and work. Compiling extracts from interviews he gave in France, the Netherlands, the US, Spain and his native Brazil, this montage by Jeanne Dosse is a superb introduction to his politics and aesthetics.
Instituto Augusto Boal
Kelly Hunter was for many years a renowned actor with the Royal Shakespeare Company and is now Artistic Director of Flute Theatre. Hunter, author of Shakespeare’s Heartbeat and Cracking Shakespeare talks here with Michael Dobson, Director of the Shakespeare Institute, about her work developing games for children on the autism spectrum using Shakespeare’s texts.
Exploring the politics and portrayal of the Other, Abdulla Al-Dabbagh, a professor of English Literature, analyses texts throughout Shakespeare's canon, including Othello, Romeo and Juliet, The Merchant of Venice, Antony and Cleopatra, Hamlet and King Lear.
Talking About Plays
Dawn Walton is the Founder and Artistic Director of Black-led theatre company, Eclipse. Renowned for their delivery of diverse programming to regional theatres, Eclipse strives to disrupt and enrich the contemporary theatrical landscape.
Lighting designer and teacher Geraint Pughe discusses training, both his own and his pupils, and reveals the three basic principles of lighting - understanding the space, creating mood and knowing how to use special effects.
Nicholai La Barrie is the Director of Young People and Emerging Artists at the biggest arts centre in west London. Nicholai discusses the different strands of work he runs with young people, from school programs to working with young offenders, to developing the Lyric’s brand new young acting company, and explains how everything he does as an arts manager is to facilitate being in a room with young creatives, ready to make theatre.
Playwright, teacher and recently appointed artistic director of Tamasha Theatre Company Fin Kennedy discusses the value of the arts within the curriculum and how they can be used as a force for good learning across all subject areas.
Director Timothy Sheader discusses his work on the award-winning production of Into the Woods at the Regent’s Park Open Air Theatre. Sheader explains why his choices were led by music more than words, as well as exploring the characterisation of these iconic fairy-tale legends.
This interview with Study Guide writer Professor Carol Chillington Rutter explores the relationship between Lear and his three daughters, describes how readers connect to Lear at different ages, reflects on Shakespeare's age when he wrote the play, and more.
Newly appointed as the Artistic Director of Little Angel Theatre, we interviewed Samantha during her time as the Director of Projects - the theatre's creative learning department - at the Almeida. She is a firm believer in the educative power of theatre across all subjects and describes how it can empower students and enhance learning.
Desmond Barrit has a long history with Shakespeare. Having tackled numerous roles including Bottom, Trinculo, Malvolio, and both Antipholi in a the same production, Desmond shares his experience treading the boards as some of the Bard's most renowned characters and explains his criteria for choosing the parts he plays.
Actor Pearce Quigley is one of the UK's most renowned Shakespearean funny men, having played a number of the Bard's greatest clowns on stage.
Pearce shares how his route into the industry began in childhood, his experiences in finding humour in unexpected places, and the problem with playing serious.
Professor Carol Chillington Rutter interrogates Shakespeare's renowned tragedy, focusing on the themes of the play. Sex, language, time and humour are all explored in this in-depth interview that identifies key access points to this classic text.
Alex Gilbreath played Juliet opposite David Tennant's Romeo in Michael Boyd's RSC production in 2000.
Alex suggests that Juliet's "Gallop apace" speech is an honest portrait of sexual awakening and identifies how disruption to the text's iambic pentameter implies a play about chaos.
Daniel Boyd played Romeo in Robert Icke's Headlong production, which toured the UK in 2012. Daniel describes how Romeo's language makes clear his earth-shattering connection to Juliet and argues that the moment of Tybalt's murder holds great significance for Romeo as a character.
Nicholas Shaw played Romeo in Timothy Sheader's first production at the Regent's Park Open Air Theatre in 2008.
Nicholas explores the importance of Romeo's relationships and suggests that Romeo is so well-drawn because Shakespeare constantly develops him as a person throughout.
Join former RSC Artistic Director, Michael Boyd, and the company's Head of Education, Jacqui O'Hanlon, as they reveal why their Young People's Shakespeare project is so important to them and go behind the scenes of their production, The Comedy of Errors.
Lisa Dillon has played a number of Shakespeare's women in her career to date, but none more physically than Kate from The Taming of the Shrew. Lisa explains why she has historically been turned off Shakespeare, how interrogating the idea of a modern-day shrew lead her to create Kate as an outrageous mess of a woman, and why she rejects the scholarship around the character.
Finn Pfeffer's involvement with The Soap Myth was not only significant as part of the sound crew; as the only German native on the production team, his perspective on the play is unique.
Finn offers an illuminating insight into the gulf between how Holocaust education is taught in different countries, and sheds light onto the soap myth itself.
National Jewish Theater