Senior Lecturer at the University of Birmingham's Department of Drama and Theatre Arts Adam J. Ledger introduces the innovative and award-winning British theatre director Katie Mitchell. Exploring Mitchell’s experimental theatre methods, and the influence of psychology and the environment on her work, Ledger considers how her productions combine physical and emotional behaviour with theatrical imagery and inventiveness.
The aim of this Digital Theatre+ Practical Workshop Guide is to deepen and enrich understanding of the play as a blueprint for performance, encouraging the student to approach the material using the investigative and interpretive methods of the actor, director or voice coach.
Ezra Le Bank, Associate Professor of Theatre Arts, California State University Long Beach, shares his research into utilising social media and digital technology to support teaching in studio theatre courses. The essay provides practical suggestions to assist educators in considering digital integration in theatrical (or other) courses.
Ben Spatz, Senior Lecturer of Drama, Theatre and Performance at the University of Huddersfield and Artistic Director of the Urban Research Theater, explores the notion of theatre as a laboratory – a space for research and experimentation essential to the theatre-making process. Referring to the work of renowned practitioners, Spatz considers how laboratory theatre continues to be provocative beyond the 20th century.
Hugh Bonneville started his career at the Open Air Theatre in Regent’s Park, understudying Ralph Fiennes as Lysander, one of the four lovers in A Midsummer Night’s Dream.
He and Fiennes meet up again to try to untangle the extraordinary plot of one of Shakespeare’s most enduringly popular plays, a great comedy of love and enchantment.
Director Trevor Nunn looks at the magical and mysterious world created in Shakespeare's last complete play, The Tempest. Trevor finds out where Shakespeare got his material from and the strange personal insights hidden within it. It is a truly experimental work but sadly perhaps also Shakespeare's farewell to the theatre.
Sarah Esdaile, theatre director, discusses Mike Bartlett's 2010 environmental drama Earthquakes in London.
Esdaile considers the challenges of staging a play whose scenes tumble into one another, why one might look to Chekhov's Three Sisters, Shakespeare's King Lear, and Marber's Closer in the rehearsal room, and how Bartlett's work speaks to young audiences.
Talking About Plays
Historiography is the study, not only of the historical record, but the process of writing history. Theatre historiography studies how histories of the theatre are constructed and also generates new histories. When we speak of “histories of the theatre,” we refer to the histories of performance practice as well as the body of plays, criticism, theory, dramaturgical writings, and other fragments that survive in archives or record books.
In Summer 2016, Digital Theatre+'s Creative Producer, Fiona Lindsay, conducted a live-broadcast Q&A session with former International Baccalaureate Chief Examiner Richard Gough, discussing his decades of experience in understanding the concept of world, or intercultural, theatre.