Podcasts about Modern Drama

Africa Melane, we’re joined by actor Michael MacKenzie, who stars as Jerry in The Zoo Story, Edward Albee’s piercing one-act play now on stage at Theatre Arts. Directed by Chris Weare and produced by Mpact Productions, this stripped-down yet emotionally explosive work dives deep into themes of isolation, communication, and the fractured state of the human condition.See omnystudio.com/listener for privacy information.

PREVIEW: MUSK: BRAZIL: X: STARLINK: Conversation with colleague Evan Ellis re the contest underway between the Supreme Court of Brazil's authority and the commerce of Elon Musk's X and Starlink in Brazil: a modern drama. More tonight. 1936 Brazil

The 1st episode of our 6th season features a conversation between Irish author and 2024 Heimbold Chair Emilie Pine, Villanova creative writing professor Adrienne Perry, Villanova student Charlotte Ralston and Center Director Joseph Lennon. They have a wide-ranging discussion about the writing process, flow and the role of the reader. - - - Emilie Pine is an award-winning Irish creative writer and scholar. Dr. Pine is professor of Modern Drama in the School of English, Drama and Film at University College Dublin. She has published widely as an academic and critic, including The Politics of Irish Memory: Performing Remembrance in Contemporary Irish Culture (Palgrave, 2011), and most recently The Memory Marketplace: Witnessing Pain in Contemporary Theatre (Indiana University Press, 2020). Dr. Pine served as editor of the Irish University Review from 2017 to 2021. Widely regarded as a leading scholar of Irish cultural memory, Dr. Pine led Industrial Memories, an Irish Research Council funded project to witness Ireland's historic institutional abuse. She continues to run the ongoing oral-history project Survivors Stories with the National Folklore Collection. As a writer, Dr. Pine collaborated with ANU Productions on the Ulysses 2.2 project in 2023, creating All Hardest of Woman at the National Maternity Hospital. Her first play, Good Sex, was a collaboration with Dead Centre Theatre Company, and was shortlisted for Best New Play and Best Production at the 2023 Irish Times Irish Theatre Awards. She is the author of the bestselling essay collection, Notes to Self, which won the 2018 Irish Book of the Year award and has been translated into 15 languages. Her novel Ruth & Pen (2022) won the 2023 Kate O'Brien First Novel Award. Adrienne Perry, earned her MFA from Warren Wilson College, and her PhD in Literature and Creative Writing from the University of Houston. From 2014-2016 she served as the Editor of Gulf Coast: A Journal of Literature and Fine Arts. In 2020, Adrienne received the inaugural Elizabeth Alexander Prize in Creative Writing from Meridians journal. Adrienne's work has appeared or is forthcoming in Copper Nickel, Black Warrior Review, Indiana Review, Ninth Letter, and elsewhere. She is an Assistant Professor of literature and creative writing at Villanova University. Charlotte Ralston recently graduated in 2024 with a BA English and Psychology with minor in Irish Studies.

The interview featured an in-depth dialogue about The Theatre of Twenty-First Century Spain (Vernon Press, 2022), a bilingual collection that examines contemporary Spanish theater and its exploration of identity, anxieties and social urgencies. The editors, Helen Freear-Papio and Candyce Crew Leonard, shared their backgrounds, interests in Spanish theater, and the impact of their mentors on their academic careers. The influence of the magazine "Estreno" on the formation and development of theatrical research was highlighted. The book addresses the myriad of complex social immediacies that impact twenty-first-century Spain. Identifying, naming, and belonging lend a sense of rational order and rootedness within specific societies and eras. Yet, that order may collapse, threatening the predictability that ensures stability. As Spain enters its fifth decade as a fully democratic nation, its identity remains unfocused and disorganized, continuing to reckon with its traumatic past. The nine research essays in this volume, all on plays authored in the twenty-first century, explore topics such as non-heteronormative gender identity, "fake news" and the distortion of facts, female self-agency and authorship, violence against women, and the ongoing need for justice for family histories erased and repressed by Spain's unresolved recent past. Central to the book is how contemporary theater addresses issues like immigration, unemployment, gender violence, the rights of the LGBTQ+ community, and the historical memory of the Spanish Civil War and the Franco dictatorship. By examining these works through the lens of identity, the editors reflect on the complexities and tensions of current Spanish society, proposing that theater is an effective means of capturing the immediacy of these problems. Helen Freear-Papio (Ph.D. University of Connecticut) is a Senior Lecturer in the Spanish Department at the College of the Holy Cross, Worcester, Massachusetts, where she teaches courses on the contemporary theater of Spain. Her research centers on contemporary Spanish female playwrights of democratic Spain with an emphasis on the following topics: the construction of female identity, female authorship and agency, gender violence, alterity, historical memory, and the retelling of myth. Candyce Crew Leonard (Ph.D. Indiana University-Bloomington) has worked with the contemporary theater of Spain since the early 1980s. She spent her career teaching classes in European and Modern Drama as well as the literature of Spain; the cornerstone of her research is social justice and gender studies. Dr. Leonard is Professor Emerita at Wake Forest University. Vernon Press – Bridging Scholarly Ideas and Global Readership Vernon Press stands out as a bilingual independent publisher of scholarly books in the humanities and social sciences. Their mission is crucial — to provide a home for ideas of international importance and to embrace scholarship from underrepresented voices and perspectives. Through its diverse catalog, Vernon Press engages with global readers, contributing to academic and public discourse. Dessy Vassileva, the Marketing & Design expert at Vernon Press, brings a 360º multidisciplinary approach to her work at Vernon Press. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The interview featured an in-depth dialogue about The Theatre of Twenty-First Century Spain (Vernon Press, 2022), a bilingual collection that examines contemporary Spanish theater and its exploration of identity, anxieties and social urgencies. The editors, Helen Freear-Papio and Candyce Crew Leonard, shared their backgrounds, interests in Spanish theater, and the impact of their mentors on their academic careers. The influence of the magazine "Estreno" on the formation and development of theatrical research was highlighted. The book addresses the myriad of complex social immediacies that impact twenty-first-century Spain. Identifying, naming, and belonging lend a sense of rational order and rootedness within specific societies and eras. Yet, that order may collapse, threatening the predictability that ensures stability. As Spain enters its fifth decade as a fully democratic nation, its identity remains unfocused and disorganized, continuing to reckon with its traumatic past. The nine research essays in this volume, all on plays authored in the twenty-first century, explore topics such as non-heteronormative gender identity, "fake news" and the distortion of facts, female self-agency and authorship, violence against women, and the ongoing need for justice for family histories erased and repressed by Spain's unresolved recent past. Central to the book is how contemporary theater addresses issues like immigration, unemployment, gender violence, the rights of the LGBTQ+ community, and the historical memory of the Spanish Civil War and the Franco dictatorship. By examining these works through the lens of identity, the editors reflect on the complexities and tensions of current Spanish society, proposing that theater is an effective means of capturing the immediacy of these problems. Helen Freear-Papio (Ph.D. University of Connecticut) is a Senior Lecturer in the Spanish Department at the College of the Holy Cross, Worcester, Massachusetts, where she teaches courses on the contemporary theater of Spain. Her research centers on contemporary Spanish female playwrights of democratic Spain with an emphasis on the following topics: the construction of female identity, female authorship and agency, gender violence, alterity, historical memory, and the retelling of myth. Candyce Crew Leonard (Ph.D. Indiana University-Bloomington) has worked with the contemporary theater of Spain since the early 1980s. She spent her career teaching classes in European and Modern Drama as well as the literature of Spain; the cornerstone of her research is social justice and gender studies. Dr. Leonard is Professor Emerita at Wake Forest University. Vernon Press – Bridging Scholarly Ideas and Global Readership Vernon Press stands out as a bilingual independent publisher of scholarly books in the humanities and social sciences. Their mission is crucial — to provide a home for ideas of international importance and to embrace scholarship from underrepresented voices and perspectives. Through its diverse catalog, Vernon Press engages with global readers, contributing to academic and public discourse. Dessy Vassileva, the Marketing & Design expert at Vernon Press, brings a 360º multidisciplinary approach to her work at Vernon Press. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

The interview featured an in-depth dialogue about The Theatre of Twenty-First Century Spain (Vernon Press, 2022), a bilingual collection that examines contemporary Spanish theater and its exploration of identity, anxieties and social urgencies. The editors, Helen Freear-Papio and Candyce Crew Leonard, shared their backgrounds, interests in Spanish theater, and the impact of their mentors on their academic careers. The influence of the magazine "Estreno" on the formation and development of theatrical research was highlighted. The book addresses the myriad of complex social immediacies that impact twenty-first-century Spain. Identifying, naming, and belonging lend a sense of rational order and rootedness within specific societies and eras. Yet, that order may collapse, threatening the predictability that ensures stability. As Spain enters its fifth decade as a fully democratic nation, its identity remains unfocused and disorganized, continuing to reckon with its traumatic past. The nine research essays in this volume, all on plays authored in the twenty-first century, explore topics such as non-heteronormative gender identity, "fake news" and the distortion of facts, female self-agency and authorship, violence against women, and the ongoing need for justice for family histories erased and repressed by Spain's unresolved recent past. Central to the book is how contemporary theater addresses issues like immigration, unemployment, gender violence, the rights of the LGBTQ+ community, and the historical memory of the Spanish Civil War and the Franco dictatorship. By examining these works through the lens of identity, the editors reflect on the complexities and tensions of current Spanish society, proposing that theater is an effective means of capturing the immediacy of these problems. Helen Freear-Papio (Ph.D. University of Connecticut) is a Senior Lecturer in the Spanish Department at the College of the Holy Cross, Worcester, Massachusetts, where she teaches courses on the contemporary theater of Spain. Her research centers on contemporary Spanish female playwrights of democratic Spain with an emphasis on the following topics: the construction of female identity, female authorship and agency, gender violence, alterity, historical memory, and the retelling of myth. Candyce Crew Leonard (Ph.D. Indiana University-Bloomington) has worked with the contemporary theater of Spain since the early 1980s. She spent her career teaching classes in European and Modern Drama as well as the literature of Spain; the cornerstone of her research is social justice and gender studies. Dr. Leonard is Professor Emerita at Wake Forest University. Vernon Press – Bridging Scholarly Ideas and Global Readership Vernon Press stands out as a bilingual independent publisher of scholarly books in the humanities and social sciences. Their mission is crucial — to provide a home for ideas of international importance and to embrace scholarship from underrepresented voices and perspectives. Through its diverse catalog, Vernon Press engages with global readers, contributing to academic and public discourse. Dessy Vassileva, the Marketing & Design expert at Vernon Press, brings a 360º multidisciplinary approach to her work at Vernon Press. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

The interview featured an in-depth dialogue about The Theatre of Twenty-First Century Spain (Vernon Press, 2022), a bilingual collection that examines contemporary Spanish theater and its exploration of identity, anxieties and social urgencies. The editors, Helen Freear-Papio and Candyce Crew Leonard, shared their backgrounds, interests in Spanish theater, and the impact of their mentors on their academic careers. The influence of the magazine "Estreno" on the formation and development of theatrical research was highlighted. The book addresses the myriad of complex social immediacies that impact twenty-first-century Spain. Identifying, naming, and belonging lend a sense of rational order and rootedness within specific societies and eras. Yet, that order may collapse, threatening the predictability that ensures stability. As Spain enters its fifth decade as a fully democratic nation, its identity remains unfocused and disorganized, continuing to reckon with its traumatic past. The nine research essays in this volume, all on plays authored in the twenty-first century, explore topics such as non-heteronormative gender identity, "fake news" and the distortion of facts, female self-agency and authorship, violence against women, and the ongoing need for justice for family histories erased and repressed by Spain's unresolved recent past. Central to the book is how contemporary theater addresses issues like immigration, unemployment, gender violence, the rights of the LGBTQ+ community, and the historical memory of the Spanish Civil War and the Franco dictatorship. By examining these works through the lens of identity, the editors reflect on the complexities and tensions of current Spanish society, proposing that theater is an effective means of capturing the immediacy of these problems. Helen Freear-Papio (Ph.D. University of Connecticut) is a Senior Lecturer in the Spanish Department at the College of the Holy Cross, Worcester, Massachusetts, where she teaches courses on the contemporary theater of Spain. Her research centers on contemporary Spanish female playwrights of democratic Spain with an emphasis on the following topics: the construction of female identity, female authorship and agency, gender violence, alterity, historical memory, and the retelling of myth. Candyce Crew Leonard (Ph.D. Indiana University-Bloomington) has worked with the contemporary theater of Spain since the early 1980s. She spent her career teaching classes in European and Modern Drama as well as the literature of Spain; the cornerstone of her research is social justice and gender studies. Dr. Leonard is Professor Emerita at Wake Forest University. Vernon Press – Bridging Scholarly Ideas and Global Readership Vernon Press stands out as a bilingual independent publisher of scholarly books in the humanities and social sciences. Their mission is crucial — to provide a home for ideas of international importance and to embrace scholarship from underrepresented voices and perspectives. Through its diverse catalog, Vernon Press engages with global readers, contributing to academic and public discourse. Dessy Vassileva, the Marketing & Design expert at Vernon Press, brings a 360º multidisciplinary approach to her work at Vernon Press. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

The interview featured an in-depth dialogue about The Theatre of Twenty-First Century Spain (Vernon Press, 2022), a bilingual collection that examines contemporary Spanish theater and its exploration of identity, anxieties and social urgencies. The editors, Helen Freear-Papio and Candyce Crew Leonard, shared their backgrounds, interests in Spanish theater, and the impact of their mentors on their academic careers. The influence of the magazine "Estreno" on the formation and development of theatrical research was highlighted. The book addresses the myriad of complex social immediacies that impact twenty-first-century Spain. Identifying, naming, and belonging lend a sense of rational order and rootedness within specific societies and eras. Yet, that order may collapse, threatening the predictability that ensures stability. As Spain enters its fifth decade as a fully democratic nation, its identity remains unfocused and disorganized, continuing to reckon with its traumatic past. The nine research essays in this volume, all on plays authored in the twenty-first century, explore topics such as non-heteronormative gender identity, "fake news" and the distortion of facts, female self-agency and authorship, violence against women, and the ongoing need for justice for family histories erased and repressed by Spain's unresolved recent past. Central to the book is how contemporary theater addresses issues like immigration, unemployment, gender violence, the rights of the LGBTQ+ community, and the historical memory of the Spanish Civil War and the Franco dictatorship. By examining these works through the lens of identity, the editors reflect on the complexities and tensions of current Spanish society, proposing that theater is an effective means of capturing the immediacy of these problems. Helen Freear-Papio (Ph.D. University of Connecticut) is a Senior Lecturer in the Spanish Department at the College of the Holy Cross, Worcester, Massachusetts, where she teaches courses on the contemporary theater of Spain. Her research centers on contemporary Spanish female playwrights of democratic Spain with an emphasis on the following topics: the construction of female identity, female authorship and agency, gender violence, alterity, historical memory, and the retelling of myth. Candyce Crew Leonard (Ph.D. Indiana University-Bloomington) has worked with the contemporary theater of Spain since the early 1980s. She spent her career teaching classes in European and Modern Drama as well as the literature of Spain; the cornerstone of her research is social justice and gender studies. Dr. Leonard is Professor Emerita at Wake Forest University. Vernon Press – Bridging Scholarly Ideas and Global Readership Vernon Press stands out as a bilingual independent publisher of scholarly books in the humanities and social sciences. Their mission is crucial — to provide a home for ideas of international importance and to embrace scholarship from underrepresented voices and perspectives. Through its diverse catalog, Vernon Press engages with global readers, contributing to academic and public discourse. Dessy Vassileva, the Marketing & Design expert at Vernon Press, brings a 360º multidisciplinary approach to her work at Vernon Press. Learn more about your ad choices. Visit megaphone.fm/adchoices

reading Elinor Fuchs' essay "Waiting for Recognition" (2007) first published by Modern Drama journal. University of Toronto Press. --- Support this podcast: https://podcasters.spotify.com/pod/show/caridad-svich/support

reading from the introduction to Jonas Barish's The Anti-theatrical Prejudice (UC Press, 1981), and abstract/summary of Eileen Fischer's review of this book in Modern Drama journal (University of Toronto Press, Volume 25, Number 3, Fall 1982, pp. 435-437) --- Support this podcast: https://podcasters.spotify.com/pod/show/caridad-svich/support

Ascultați podcast-ul ”Pași spre viață”, o emisiune dialog cu Cristina Olariu și pastorul Ghiță Mocan.

Today's discussion is with Dr. Tina Post, an Assistant Professor of English and Theater and Performance at the University of Chicago. Her recent first monograph, Deadpan: The Aesthetics of Black Inexpression, is the first book in NYU Press's new Minoritarian Aesthetics series. Her scholarly articles have appeared in Modern Drama, TDR: The Drama Review, International Review of African American Art (IRAAA), ASAP/Journal, and the edited collection Race and Performance after Repetition (Duke University Press, 2020). Dr.Post's creative work can be found in Imagined Theaters, Stone Canoe, and The Appendix. In today's discussion, we discuss Deadpan, where Dr.Post reveals that the performance of purposeful withholding is a critical tool in the work of black culture makers, intervening in the persistent framing of African American aesthetics as colorful, loud, humorous, and excessive. 

Emilie Pine, Author and Professor of Modern Drama at UCD joined Sean on the show this afternoon to discuss her two shows at the Dublin Theatre Festival...

Emilie Pine, Author and Professor of Modern Drama at UCD joined Sean on the show this afternoon to discuss her two shows at the Dublin Theatre Festival...

Graley Herren is the author of 'Dreams and Dialogues in Dylan's Time Out Of Mind, and a professor (Chair of the English Department) at Xavier University in Cincinnati Ohio. He specializes in Modern Irish Literature, Modern Drama, Samuel Beckett, Don DeLillo, and Bob Dylan. He is the author of Samuel Beckett's Plays on Film and Television, The Self-Reflexive Art of Don DeLello, and numerous articles and chapters on various 20th and 21st century artists. The premise of the book is that Time Out Of Mind represents a series of dreams, and that the songs on the album make up a single connect song cycle. From there Graley finds what he calls three ‘dimensions of experience’ filtered through the songs -- The first is Murder Ballads, the second is Religious Allegory, and the last is Race in America. The bulk of the book is made up of him showing how the lyrics and songs reflect each of these dimensions. Professor Herren’s book goes deep into the possible meanings and motivations behind the songs on Time Out Of Mind. He’ll present thoughts on how ‘murder ballads’ might play a role in explaining the unified message on this album. In the talk you’re about to hear, Graley summarizes and gives examples of his analysis of the lyrics of Time Out Of Mind in relation to Murder Ballads. This is a recording of a talk he gave to our Premium Members a few months ago, and in the interest of time he narrowed his focus to share just a sliver of one of the book’s three theses. A video version of this episode is available to Premium Members at FreakMusic.Club. LINKS: Order The Book: Dreams and Dialogues in Dylan's Time Out Of Mind (Amazon)

Hosts of the popular podcast Not Another Shakespeare Podcast, James and Nora, speak to Anjna about their mission to humanise early modern drama, making it fun (and sometimes silly) for their audiences. They also have an incredible film recommendation.Support the show

Pages 906 - 913 │ Penelope, part IX │ Read by Emilie PineEmilie Pine is Professor of Modern Drama in the School of English, Drama and Film in University College Dublin. She has published widely as an academic and critic, and is author of the international bestseller, Notes to Self: Essays. She published her first novel, Ruth & Pen, in May 2022. Buy Ruth & Pen: https://shakespeareandcompany.com/I/9780241573297/ruth-pen-the-brilliant-debut-novel-from-the-internationally-bestselling-author-of-notes-to-selfFollow on Twitter: https://twitter.com/emiliepine*Looking for our author interview podcast? Listen here: https://podfollow.com/shakespeare-and-companySUBSCRIBE NOW FOR EARLY EPISODES AND BONUS FEATURESAll episodes of our Ulysses podcast are free and available to everyone. However, if you want to be the first to hear the recordings, by subscribing, you can now get early access to recordings of complete sections.Subscribe on Apple Podcasts here: https://podcasts.apple.com/gb/channel/shakespeare-and-company/id6442697026Subscribe on Patreon here: https://www.patreon.com/sandcoIn addition a subscription gets you access to regular bonus episodes of our author interview podcast. All money raised goes to supporting “Friends of Shakespeare and Company” the bookshop's non-profit.*Discover more about Shakespeare and Company here: https://shakespeareandcompany.comBuy the Penguin Classics official partner edition of Ulysses here: https://shakespeareandcompany.com/d/9780241552636/ulyssesFind out more about Hay Festival here: https://www.hayfestival.com/homeAdam Biles is Literary Director at Shakespeare and Company. Find out more about him here: https://www.adambiles.netBuy a signed copy of his novel FEEDING TIME here: https://shakespeareandcompany.com/S/9781910296684/feeding-timeDr. Lex Paulson is Executive Director of the School of Collective Intelligence at Université Mohammed VI Polytechnique in Morocco.Original music & sound design by Alex Freiman.Hear more from Alex Freiman here: https://open.spotify.com/album/4gfkDcG32HYlXnBqI0xgQX?si=mf0Vw-kuRS-ai15aL9kLNA&dl_branch=1Follow Alex Freiman on Instagram here: https://www.instagram.com/alex.guitarfreiman/Featuring Flora Hibberd on vocals.Hear more of Flora Hibberd here: https://open.spotify.com/artist/5EFG7rqfVfdyaXiRZbRkpSVisit Flora Hibberd's website: This is my website:florahibberd.com and Instagram https://www.instagram.com/florahibberd/ Music production by Adrien Chicot.Hear more from Adrien Chicot here: https://bbact.lnk.to/utco90/Follow Adrien Chicot on Instagram here: https://www.instagram.com/adrienchicot/Photo by Ruth Connolly See acast.com/privacy for privacy and opt-out information.

A collection of essays by the famous Anarcho-Communist Emma Goldman.  

In this episode, Kirsten Shepherd-Barr introduce modern drama, the tale of which is a story of extremes, testing both audiences and actors to their limits through hostility and contrarianism. Learn more about “Modern Drama: A Very Short Introduction” here:https://global.oup.com/academic/product/modern-drama-a-very-short-introduction-9780199658770 Kirsten E. Shepherd-Barr is Professor of English and Theatre Studies at the University of Oxford and … Continue reading Modern Drama – The Very Short Introductions Podcast – Episode 37 →

Distopya: Edebi Mirasların ve Cehennemsi Geleceklerin Haritalandırılması Dr. Emrah Atasoy Dr. Thomas Horan Emrah Atasoy, Kapadokya Üniversitesi Beşeri Bilimler Fakültesi İngiliz Dili ve Edebiyatı Bölümü'nde Dr. Öğr. Üyesi olarak görev yapmaktadır. En son yayınları arasında Ankara Üniversitesi Diller ve Tarih-Coğrafya Dergisi tarafından yayınlanan “Spekülatif Kurguda Salgın Teması”(2020) ve “Epistemological Warfare(s) in Dystopian Narrative: Zülfü Livaneli's Son Ada and Anthony Burgess's The Wanting Seed” (tırnak yönü kontrol edilmeli) sayılabilir. Akademik ilgi alanları arasında spekülatif kurgu, distopya, ütopya, bilim kurgu, apokaliptik kurgu, Türk ütopyacılığı ve yirminci yüzyıl edebiyatı sayılabilir. Dr. Atasoy, TÜBİTAK 2219 Yurt Dışı Doktora Sonrası Araştırma Burs Programı desteği ile Eylül 2021-Eylül 2022 arasında Oxford Üniversitesi İngiliz Dili ve Edebiyatı Bölümü'nde doktora sonrası çalışmalarını yürütmek üzere misafir araştırmacı olarak bulunacaktır. Thomas Horan, Charleston'daki Güney Karolina Askeri Koleji'ndeki Citadel'de İngilizce Profesörüdür. Öğretim ve araştırma ilgi alanları distopik edebiyat, yirminci yüzyıl İngiliz ve İngiliz Milletler Topluluğu edebiyatı ve modern ve çağdaş dramadır. Desire and Empathy in Twentieth-Century Distopian Fiction adlı monografisi 2018'de Palgrave Macmillan tarafından yayınlandı. Critical Insights: Nineteen Eighty-Four (2016) ve Critical Insights: Animal Farm (2018) kitaplarının editörlüğünü yaptı. Çalışmaları Modern Drama, Extrapolation, The Arthur Miller Journal ve çeşitli düzenlenmiş koleksiyonlarda yer almaktadır.

Two young Irish boys, Shay and Kieran, a gang, boyhood pranks and games to "reach the moon". Shay's uncle Peadar looms into view and he tramps home. The bed-time legend of the Sandman is a precursor to significant events - Shay's tumble into the sea, rescue by two kind neighbours, and revelation about the true nature of adults and relationships.

Rafael wakes early. It is the morning of an important job interview. Even when his rival for the post drops out, he is still interviewed. "They did not ask if I wanted the job" is the precursor to violent and life-changing events for Rafael and his wife Zofia.

In Ireland, grandfather Mr Lannigan - a "true artist" - meets with local priest Father Moylan about a matter-in-hand: ostensibly, his grandson's broken hurling stick. As the conversation develops, the real issue turns out to be something much more cruel and damaging. Resolution achieved, Lannigan's thoughts return again to his art.

Drunken hymn-singing from Mason and Scott after Lillian's funeral kicks off this final revelatory episode. Scott has gatecrashed the event performing an impromptu eulogy to his mother. What follows is a succession of discoveries.  Why is Scott really back from America? Why did he never return before? Events proceed to a, perhaps, surprising conclusion.Episode 3 of 3

After a bristling initial conversation, stepbrothers Scott and Andrew catch up on their previous 40 years apart - and beyond. Childhood relationships and the interesting background around Scott's departure to the USA keep the pot boiling. Andrew learns some home truths about his father and stepmother, the recently-deceased Lillian, with blackmail and betrayal to the fore.   Episode 2 of 3

Scott is a  wanderer returning. After many decades he is back in England from the USA, having heard of his mother Lillian's death and on the eve of her funeral.He meets Mason, a friend of Lillian.  But there is still a closer, less genial family member to encounter.Episode 1 of 3

Edward is back from Scotland with good news from eldest daughter Greta. For Lia, it is decision time for them regarding her pregnancy.As she leaves, Edward's youngest daughter Megan arrives in a fractious mood.  More family strife ensues as the "archaeological dig" on their past relationship begins again.  After a few stiff drinks, new revelations on the depths of her bitterness, the teenage affair with a teacher, and some shocking truths about her miscarriage are finally revealed.Will daddy and his girls finally sort it all out?Episode 4 of 4.

The showdown happens. Angry daughter Megan meets with Lia, her dad's new and much younger partner.The discussion ranges far and wide - fatherhood and loss, bringing up children, mothers and teenagers. It all gets personal about motives and attitudes. Then the issue of Lia's new-found pregnancy rears its contentious head and major conflict ensues.Will they be "good" by the end?Episode 3 of 4.

Edward and Lia meet in a wine bar to discuss the bombshell of their relationship announcement for his grown-up daughter Megan.It is time for some honesty about his past marital infidelities and Megan's significant teenage perils and mishaps.  Lia suggests that he visits Greta, his other daughter, in Scotland; but strangely, she is not drinking wine and feels a little bit queasy. This is the prelude to a second major and life-changing revelation.Episode 2 of 4.

The up-and-down relationship of a father with his grown-up daughters.  In this first of four episodes, recently-bereaved Edward brings home some "interesting" news to Megan about a new romantic attachment...and quite a lot more.Cue conflict and the revisiting of sins from the past. What will Megan and her sister do?

On holiday in Spain with his brother, Geordie Chris encounters a strange, feral dog.They call him "Fella" as he follows them to a restaurant. It is then that the situation turns nasty...and deadly.But will this be the end of "Fella" for Chris?

Memories of people and places in his past life are revisited by a man recovering from serious illness.Ashcombe Hall and a summer holiday spent there with his school friend Roddy are recalled as he approaches the now-derelict country house.In the dilapidated gardens, memories of flowers and an "act of stupidity" trigger powerful emotions about past and future loss.

Mr Hobson is on a train journey back to Liverpool for the funeral of Jim Sweeney, an ex-work colleague.  He is accompanied by memories of teaching at Quarry Bank - the teenage John Lennon's alma mater -  cheeky "doppelganger" school photography, and paradoxical visions of atheist Jim in heaven.Teachers' nicknames, tragically unfortunate pupils, and "why me?" thoughts also flood Hobson's mind - underpinned by the optimistic words of Lennon's famous song "Imagine".

A woman relives memories of her father: planting potatoes on Good Friday, pipe smoke in his shed, and telling stories of old world magical woods, witches, hares and death.Touching recollections mix with more kindly, paternal hokum of supernatural romance and fatal birth, ending in the final words of worldly advice from a dying man to a loving daughter and her unborn child.

In this final episode, in limbo with Molly, Keith survives his heart attack and begins to see the light of past misdemeanours and the fragility of the life he has left to live. Meanwhile, philosophical disagreements about healthcare continue to occupy the doctor and nurse caring for him.His conscience rises in time for Molly's fate to be played out. But the consequences of past sins cannot be entirely erased.

Seriously ill Keith is still alive in the hospital - sort of. In a kind of limbo, he meets Molly, the unconscious and badly-injured patient in the bed opposite. She has his scrolls: a record of the many downs of his dubious life as a licentious driving test examiner and tax dodger (amongst other things).Can he, will he repent before it is too late?

Keith, the driving test examiner, wakes up in hospital next to a critically injured woman, having had a "cardiac event" in his car. He is tended to by a doctor and nurse with markedly different views on the philosophy and practice of health care. In his still-confused state, our hero cannot understand why his wife is not there. He hears an ominous tune and enters a strange white room...is this "the end"?Part 1 in a series of three episodes. 

An empty city centre and railway station. No people and no activity. Suddenly, a camera drone appears. A story of surveillance, suspicion, social contact and surprise.This is the third and final in our series of short story “Lockdown Squibs” that dramatise different aspects and impacts of the pandemic virus. I and the writer really do appreciate your constructive feedback.  Just email me at peoplescope@aol.com. Contacts:Twitter - twitter.com/peoplescopeFacebook -  https://www.facebook.com/profile.php?id=1138133330Instagram - https://www.instagram.com/adastra34/Youtube - https://www.youtube.com/channel/UC2PYBXqwduS_xIcBBERlISw?

All is not well for a USS submarine crew as they hear of a virus affecting the world above. Long term confined isolation leads to strife and conflict. Will they survive and make it to dry land?  If they do, what will they find? This is the second in a series of three short story “Lockdown Squibs” that dramatise different aspects and impacts of the pandemic. I and the writer really do appreciate your constructive feedback.  Just email me at peoplescope@aol.com. Contacts:Twitter - twitter.com/peoplescopeInstagram - https://www.instagram.com/adastra34/

The social and economic impact of lockdown hits a man hard. He has lost his job. Coping with the fall-out of this and trying to just survive has taken him to the edge. But a blackbird offers a glimmer of hope.  This is the first in a series of three short story “Lockdown Squibs” that dramatise different aspects and impacts of the pandemic virus. This squib draws on material contained in the BBC programme “Your call is important to us - new claimants tell us about their lives on hold”, Monday June 29 2020.I and the writer really do appreciate your constructive feedback.  Just email me at peoplescope@aol.com. Contacts:Twitter - twitter.com/peoplescopeInstagram - https://www.instagram.com/adastra34/

This is a distinctly different, American gangster story.Mobster Louis Gainsborough meets glamorous Dolores (FBI Agent Cody in disguise) in the bar owned by his criminal rival Frank Schulz.....except that these characters continually interrupt the imagination of the writer as he creates this story.  Louis gets to choose his own name.  Feisty Dolores decides what she will and won't do and say.  Meanwhile, the action moves atmospherically towards its double crossing and surprisingly murderous end.We really do appreciate your constructive feedback.  Just email peoplescope@aol.com. Other contacts: Twitter - twitter.com/peoplescope; Instagram - https://www.instagram.com/adastra34/

Andrew lies in a hospital bed in mental decline. Memory flits in and out of the past as he tries to remember old actors, movies, Shakespeare, football players.He is visited by younger brother Tom, back from abroad, who he does not initially recognise. They relive old times - visits to the cinema, the pub, paper doilies - and begin to remake the connections of a relationship.We really do appreciate constructive feedback about this story.  Just email  peoplescope@aol.com.  

The excitement of a family trip to a Beatles tribute concert is disrupted by an encounter with a loud, aggressive man with a grey poneytail.Tensions rise and a vicious punch is thrown.  But the tables soon turn seriously for the perpetrator.

Underneath the blankets, a young mind damaged by parental abuse is heroically protected by Dan "The Teddynator" - his one-eyed toy. And slowly healed in adulthood by a kindly, patient therapist. 

A woman in her 50s sits in her favourite Italian restaurant at lunchtime musing on a life now empty, save for career and the dubious comforts of food.  A song, a voice, and a romantic face from the past enter the room.  Will they be able to put right a 30 year-old mistake? 

The famous, wily Belgian sleuth Diogènes Flambert closes in on the perpetrator of his latest dastardly case - the murder of Doctor Ebony.  He has assembled the potentially guilty in one room for the dénouement.  Will it be Major Coleman, Madame Blanche, Principal Peach, or someone else?  As the tension mounts, be prepared for one final and unexpected twist.  

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Hello, listeners! Boy, do we have a treat for you! This is an in-depth special episode where we had the greatest pleasure of chatting with one of our favorite people from Iowa... ART BORRECA! He is the Co-Head of the Playwriting Program and Head of the Dramaturgy Program at the University of Iowa (aka where Sam and I met and became friends!). Art talks about his journey into theater and dramaturgy, what he loves about new plays, and shares with us the Iowa Playwrights Workshop program. We are so excited for you to listen to this one. So please, grab your favorite drink, kick your feet up, and listen to this very special episode. Art Borreca is associate professor of dramaturgy, dramatic literature, and theatre history, co-head of the playwriting program, and head of the dramaturgy program. He has worked as a dramaturg with a number of leading theatre artists, including Athol Fugard, Wole Soyinka, Theodora Skipitares, David Gothard, and Naomi Wallace in such venues as the Yale Repertory Theatre, New York Theatre Workshop, LaMama ETC, Oxford Stage Company in the U.K., and T.P.T (Theatre Project Tokyo) in Japan. His research interests include contemporary British and American theatre, new play dramaturgy, and political dramaturgy. His articles and reviews have appeared in TDR (The Drama Review), Modern Drama, and Theatre Journal; as well as in several books, including Dramaturgy in American Theatre, What is Dramaturgy? and Approaching the Millennium: Essays on Angels in America. Professor Borreca is a contributing editor of the two-volume Norton Anthology of Drama. GLISTENS: Sarah - Sinkholes Sam - American Shakespeare Virtual Tour americanshakespearecenter.com/vr/ Art - His students from his Post-Modern class. ________________________ Please support Beckett's Babies by reviewing, sharing an episode to your friends, or follow us on Facebook, Instagram, Twitter: @beckettsbabies And as always, we would love to hear from you! Send us your questions or thoughts on playwriting and we might discuss it in our next episode. Email: contact@beckettsbabies.com For more info, visit our website: www.beckettsbabies.com --- Send in a voice message: https://anchor.fm/beckettsbabies/message Support this podcast: https://anchor.fm/beckettsbabies/support

Hello, listeners! Boy, do we have a treat for you! This is an in-depth special episode where we had the greatest pleasure of chatting with one of our favorite people from Iowa... ART BORRECA! He is the Co-Head of the Playwriting Program and Head of the Dramaturgy Program at the University of Iowa (aka where Sam and I met and became friends!). Art talks about his journey into theater and dramaturgy, what he loves about new plays, and shares with us the Iowa Playwrights Workshop program. We are so excited for you to listen to this one. So please, grab your favorite drink, kick your feet up, and listen to this very special episode. Art Borreca is associate professor of dramaturgy, dramatic literature, and theatre history, co-head of the playwriting program, and head of the dramaturgy program. He has worked as a dramaturg with a number of leading theatre artists, including Athol Fugard, Wole Soyinka, Theodora Skipitares, David Gothard, and Naomi Wallace in such venues as the Yale Repertory Theatre, New York Theatre Workshop, LaMama ETC, Oxford Stage Company in the U.K., and T.P.T (Theatre Project Tokyo) in Japan. His research interests include contemporary British and American theatre, new play dramaturgy, and political dramaturgy. His articles and reviews have appeared in TDR (The Drama Review), Modern Drama, and Theatre Journal; as well as in several books, including Dramaturgy in American Theatre, What is Dramaturgy? and Approaching the Millennium: Essays on Angels in America. Professor Borreca is a contributing editor of the two-volume Norton Anthology of Drama. GLISTENS: Sarah - Sinkholes Sam - American Shakespeare Virtual Tour https://americanshakespearecenter.com/vr/ Art - His students from his Post-Modern class. ________________________ Please support Beckett's Babies by reviewing, sharing an episode to your friends, or follow us on Facebook, Instagram, Twitter: @beckettsbabies And as always, we would love to hear from you! Send us your questions or thoughts on playwriting and we might discuss it in our next episode. Email: contact@beckettsbabies.com For more info, visit our website: www.beckettsbabies.com

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Matt Radice is the travelling salesman with a busier agenda than most: stretching job, boorish boss, and a complicated personal life.  Add in a strangely-behaving satnav called Sadie and you have the ideal conditions for the perfect storm of a day...

Two men are fighting.  One shouts "keep me safe!" - why?

In his hospital bed Ralph, a retired lawyer, thinks of the letter he should have sent many years ago to Jess, the now-deceased love of his life.  Chronicling the history of their relationship – its ups, the final bitter down, and detrimental impact of this break-up on the rest of his life – a profound realisation kicks in.

Alex and cake-loving Robbie, the carpet fitters, arrive at Mrs Tyson's bungalow to fit her new carpet, in the room she shares with her lovely budgerigar Barnabas.They finish the job and are about to leave.  But where has the bird gone?

A woman watches a man dressing mannequins in a shop window, surrounded by fog.This leads her to fantasy, a brief connection, illness, and finally....sorrow. 

Driving home at night, Will is forced to stop after colliding with something in the road - possibly a badger?  Getting out of the car he realises quickly that something is not right.  And then the police arrive...  

Ellie is relieved that she fails to post a rancorous letter to her father.  But then, in "Sliding Doors" fashion, the letter is despatched.Regretting the vicious content immediately, she tries to intercept its arrival - with ironically deadly results. 

Left in a state of confusion at the end of Part 1, Jimmy “Skiver” McIver manages to kick start his quest to inherit old school mate Roger Soul's considerable fortune.By way of an Italian volcano via an East Kent hillside, Jimmy (and occasionally, his trusty side-kick Spud Murphy) face their sternest challenge yet – from an unlikely source.Hear how love (aided and abetted by bucket loads of money) wins through for our hero...in  curiously dubious circumstances. 

Ashes to Ashford is a “quest” story…with a difference.Instead of a heroic Odysseus, Sir Lancelot or Luke Skywalker, we have Jimmy McIver, a feckless Cockney failure living in 21st Century England.  Having made very little of his existence thus far, Jimmy is given one last chance to “make it big” by a now-deceased old school friend and success story, Roger Soul.  To inherit his earth, McIver must successfully complete four tasks set for him by Roger.  In Part 1, we hear what these challenges are and how Jimmy fares with the first two of them, accompanied by his doughty assistant Spud Murphy – imagine an Irish version of Sancho Panza.What could possibly go wrong?  Listen in to both parts and see how McIver makes it.

Jonathan Kalb is Professor of Theater at Hunter College, CUNY and the Resident Dramaturg at Theater for a New Audience. The author of five books on theater, he has worked for more than three decades as a theater scholar, critic, journalist, and dramaturg. He curates and hosts the theater-review-panel series TheaterMatters at HERE Arts Center and has twice won the country’s most prestigious prize for a drama critic, The George Jean Nathan Award for Dramatic Criticism. He has also won the George Freedley Award for an outstanding theater book from the Theatre Library Association. He was the founding editor of HotReview.org (The Hunter On-Line Theater Review), which published hundreds of reviews, essays and interviews by new and established theater writers from 2003-2016. He currently writes about theater on his TheaterMatters blog. His books include Beckett in Performance, The Theater of Heiner Müller and Great Lengths: Seven Works of Marathon Theater, as well as two criticism collections, Free Admissions: Collected Theater Writings and Play by Play: Theater Essays & Reviews, 1993-2002. Kalb has been a theater critic for The Village Voice, New York Press, and The New York Times, and his writing has appeared in many other publications including The New Yorker, The Nation, Salon.com, Salmagundi, The Threepenny Review, Modern Drama and Theater Heute.  

In the first edition of the new academic year, Harvey, Pannill, and the now-Canadian Sarah talk about Rebecca Kastleman's article about Gertrude Stein's Doctor Faustus Lights the Lights in the new Modern Drama, recent perspectives on the job market, and ATHE 2019 in Orlando. Plus Harvey recounts witnessing a protest at a recent production of Little Shop of Horrors.

Kirsten Shepherd-Barr investigates 'character' in Modern Drama In this Open Day taster lecture, Kirsten Shepherd-Barr investigates how the notion of ‘character’ in theatre has changed over time, drawing examples from Beckett, Pinter, Churchill, Kane and Crimp.

Watch the video of this episode. What does it mean to be live? Can a hologram be considered performance? Is going to the theatre a private or communal act? And should performing artists embrace and incorporate technological change—or should they resist, and build an oasis from social media and screen time? What on earth is going on with live performance in the digital age? Listen to the first-ever recording of the podcast with a live audience! The panel, moderated by Ben, features Colleen Renihan, Craig Walker and Michael Wheeler of the Dan School of Drama and Music. About the Panel Colleen Renihan Colleen Renihan was delighted to join the Dan School of Drama and Music faculty as a Queen's National Scholar in 2016. She earned a B. Mus. in Vocal Performance from the University of Manitoba, an Artist Diploma in Opera Performance from the Vancouver Academy of Music, and an MA and PhD in Musicology at the University of Toronto in 2011 with generous funding support from the Social Sciences and Humanities Research Council of Canada. Her dissertation Sounding the Past was a finalist for the Society for American Music’s Housewright Dissertation Award. Dr. Renihan’s research considers aspects of opera and operatic culture from a postmodern perspective. Inherently interdisciplinary in nature, it explores cultural politics, popular culture, performance theory, temporality, memory theory, opera’s interactions with media (specifically film), and opera’s potential for intervention in current debates in the philosophy of history. Her work has been published in a variety of edited collections and journals, including, most recently, twentieth century music, The Journal of the Society for American Music, and Music, Sound, and the Moving Image. Forthcoming publications include an invited chapter on Benjamin Britten’s coronation opera Gloriana to an edited collection for Boydell & Brewer, and a chapter on affective listening in Harry Somers’s Louis Riel for Wilfrid Laurier Press. Two current book projects explore the historiographical dimensions of American postwar opera, and innovation in Canadian opera and music theatre 1970-2010. Dr. Renihan has presented her research at academic conferences in Canada, the United States, and Europe, including chapter and national meetings of the American Musicological Society, and in 2010, she participated in the Society for Music Theory’s graduate student workshop on ‘Music and Narrative’ with Michael Klein. She was a founding member of Operatics (a working group for the interdisciplinary study of opera) at the University of Toronto, a founding member of IPMC (Interdisciplinary Perspectives on Music in Canada), and has been involved with several research and writing projects at the Canadian Music Centre. Learn more about Colleen. Craig Walker is Director of the Dan School of Drama and Music and Professor of Drama, and is also cross-appointed to the Departments of English and Cultural Studies. Dr. Walker earned his Ph.D. at the University of Toronto, where he had taken his earlier degrees in English. He has taught courses in most subjects in Queen's Drama at one time or another. As a director, for the Queen’s Drama, Dr. Walker has directed the world premiere of Orbit, a play about the daughters of Galileo by Jennifer Wise (2014), a double-bill of Michel Tremblay’s Counter Service and Nina Shengold’s Lives of the Great Waitresses (2012), Thornton Wilder’s Our Town (2010), his own adaptation of Bertolt Brecht’s Drums In the Night (2008), John Lazarus’ Meltdown (2005), Michel Tremblay’s Les Belles Soeurs (2003), Thornton Wilder’s The Skin of Our Teeth (2000), his own translation of Odon von Horvath’s Judgement Day (1999), Richard Rose and D.D. Kugler’s adaptation of Timothy Findley’s Not Wanted on the Voyage (1997), the medieval morality play Everyman (1996) and Elmer Rice’s The Adding Machine (1993). From 1997 to 2007, Dr. Walker was Artistic Director of Theatre Kingston, during which time the company produced 54 plays, 36 of which were Canadian, including 18 world premieres. On the academic side (see profile on academia.edu), Dr. Walker's most recent publication is "Canadian Drama and the Nationalist Impulse" in The Oxford Handbook to Canadian Literature. He is the author of The Buried Astrolabe: Canadian Dramatic Imagination and Western Tradition and co-editor (with Jennifer Wise of the University of Victoria) of The Broadview Anthology of Drama: Plays from the Western Theatre, Volumes I and II and The Broadview Anthology of Drama, Concise Edition. He was Book Review Editor for Modern Drama for two years, from 1998 to 2000. In 2009, he was appointed as a Corresponding Scholar at the Shaw Festival. He is a Fellow of the Royal Society of Canada. Learn more about Craig. Michael Wheeler is Artistic Director of SpiderWebShow Performance, an online performance company working at a national scale. His previous position was as Executive Director of Generator, a mentoring, teaching, and innovation incubator that empowers independent artists, producers and leaders in Toronto. He has co-curated The Freefall Festival with The Theatre Centre and HATCH emerging artist projects with Harbourfront Centre. In 2017, he will co-curate the first Festival of Live Digital Art (foldA) at The Isabel Bader Centre for the Performing Arts. As Founding Artistic Director of Praxis Theatre and a theatre director, he has produced and created numerous independent works including Rifles (2 Dora nominations), the World Premiere of Jesus Chrysler by Tara Beagan presented in association with Theatre Passe Muraille, a National Tour of the SummerWorks Award-winning G20 drama You Should Have Stayed Home, and Jesse Brown’s Canadaland World Tour of Canada. Much of Michael’s work has intertwined with online tools, as editor and publisher of websites like PraxisTheatre.com (Winner Best Blog Post & Best Arts and Culture Blog: Canadian Blog Awards), DepartmentOfCulture.ca, AfricaTrilogy.ca, WreckingBall.ca and most recently SpiderWebShow.ca. He holds a BA (distinction) from McGill University and a Masters of Fine Arts from The American Repertory/Moscow Art Theatre Institute for Advanced Theatre Training at Harvard University. Learn more about Michael.

Hi Friend, Welcome to a special 2018 Christmas Eve Episode of Sally’s Performing Arts Lab Podcast. Today, we’re going to talk about my upcoming guests now that 2019 is right around the corner. I’m your SallyPAL podcast host, Sally Adams. I talk to people about creating original work for a live audience. Send an email anytime to Sally@sallypal.com. Although I’ve been away from podcasting for a few months, I am still out here supporting new works wherever I see the opportunity. As 2018 draws to a close I wanted to share some thoughts before I kick into twice a month podcast uploads again. After producing over 50 episodes of SallyPAL, I took a break from podcasting. It was only supposed to last a month to make time for some other projects. But I got out of the habit of regularly editing and posting and after a few more weeks I was almost embarrassed to start again. It’s like that feeling you get when you forget to send a baby gift and then 2 years later you figure it’s probably too late to send that onesie you were maybe going to buy. But enough about me and my nieces… There are some things on the horizon that are really too exciting to ignore and I want to share them with my Sally PALS! So let me start by letting you know about the guests I have coming up in the next few months: Upcoming Guests Chris O’Rourke is a playwright, director, drama coach and critic with a Masters in Modern Drama. Chris was National Theatre Critic for com until July 2016 when Examiner.com ceased. During that time he extensively reviewed in Ireland and abroad. Chris is artistic director of Everything is Liminal and Unknown Theatre which specializes in originating works with young people from high risk backgrounds.  Peyton Storz performs with the groundbreaking comedy Splatter Theater in Chicago. Peyton graduated from Columbia College Chicago with a BA in Comedy Writing and Performance, and has trained at The Annoyance Theater and The Second City in Chicago. She hails from my hometown, Tulsa, Oklahoma. Amber Harrington teaches theatre at Edison Magnet School in Tulsa, Oklahoma. With nearly 18 years of experience she has been named Teacher of the Year, won countless awards with her students, and has created programs for her theatre kids that are imitated throughout the state. Her student playwriting program is the first of its kind in Oklahoma and has produced two national award-wining playwrights. Amber is also a Folger Shakespeare Teaching Artist. Reed Mathis is making fresh music in The Bay Area. Reed tours with his own band and works as a studio musician blending his love of classical music (Beethoven in particular) with his spectacular bass-playing skills. Reed is a former member of Tea Leaf Green. He’s also played bass with Grateful Dead members Phil Lesh, Mickey Hart, and Bill Kreutzmann. He has also played with the Steve Kimock Band, and was a founding member of Tulsa progressive jazz band Jacob Fred Jazz Odyssey. Stick close because I also have an interview promised with J.D. McPherson as soon as his touring schedule lets up.  Big news in public domain works and what it means for creatives: If you’re not sure exactly what the term public domain means, according to Google’s online dictionary, “public domain is the state of belonging or being available to the public as a whole, and therefore not subject to copyright.” This is a pretty big deal for creatives in general. But especially for arts teachers. Many of you may remember being admonished by your choir teacher or your drama director to get rid of your photocopies after a performance because the works were copyrighted and you did not have permission to keep those copies. In just a few days that will no longer be true for works published in 1923. Works published in 1922 and before have been available for 20 years. I know this because in 2013 I wrote a musical for my students that borrowed songs from 1922 and earlier including the well-known, “Be It Ever So Humble, There’s No Place Like Home”. A recent article in the Smithsonian magazine highlights a lot of the things that are important to artists regarding works in the public domain. According to the article on January 1, 2019, “all works first published in the United States in 1923 will enter the public domain.” Because of a weird discrepancy with the law, it’s been 20 years since there’s been any mass release of work into the public domain. The last time it happened was 1998 and Google didn’t even incorporate as a company until September of that year. That means the explosive growth of digital art hasn’t legally included variations on work from this period in part because works published in 1923 haven’t been in the public domain. Some of the work has been available, of course, without alteration, through publishers and for a price. 1998 was the year that public domain releases stopped because the Sonny Bono Copyright Term Extension Act added 20 years to the wait time for published works to enter the public domain. The bill was named for Congressman Bono posthumously although he did put his signature on the legislation. It’s complicated, just like copyright law so I’ve included some deep dive links for anyone who needs more. And don’t get me started on global copyright. It’s a hot mess. Next week, though, you’ll have total and free access to things like Robert Frost’s “Stopping by Woods on a Snowy Evening,” which, although written in 1922, was not published until 1923. The laws for these earlier works is different from works in the digital age. Nowadays, a work has a copyright as soon as it’s created. I’m not kidding when I say this stuff is ridiculously complicated. I’ll include a link to a great Brad Templeton website on copyright, plagiarism, and some other topics you might find interesting. Other things entering the public domain? Well, how about the unforgettable pop hit, “Yes, We Have No Bananas,” or the songs “Who’s Sorry Now?” and the flapper hit, “The Charleston”. The film debuts of Marlene Dietrich, Douglas Fairbanks, Jr. and Fay Wray will be available for general public use. There won’t be any Disney fare available until 2024. At the time the law changed, Mickey Mouse’s film debut, Steamboat Willie, would have been public domain in 2004. But the Disney Corporation lobbied to retain the rights to its creations over two decades into the next century. They didn’t have to lobby all that hard as both the House and Senate had corporate-leaning Republican majorities and President Clinton wasn’t looking to make public domain law a part of his platform. The 1998 law gave Steamboat Willie an extra 20 years before he would steer into un-copyrighted waters. What’s really exciting now is that digital collections like Internet Archive, Google Books and HathiTrust will be storing seminal works from the early days of American Modernism. D.H. Lawrence, Virginia Woolfe, Claude McKay, Sigmund Freud, George Bernard Shaw, Louis Armstrong, Gertrude Stein, and so many others. Members of the Harlem Renaissance, the DaDaist school, and the Algonquin Roundtable all feature prominently in 1923. This new surge of old works in the digital age allows for current creatives to freely play with the works of important artists of the era bridging WWI and the Great Depression. Works entering the public domain can be altered indiscriminately. You could even claim p.d. work as your own, but that’s not art, that’s plagiarism. As artists we are always standing on the shoulders of giants. Give attribution whenever you can. And do your homework. Look at the context for works that you use. Collaborating with ghosts expands our artistic horizons. It’s an exciting way to learn from our predecessors. Teachers will be free to share these works with their students and scholars can print important poems and essays many of us have never read. It’s only one year, but I think you’ll find that 1923 was a very good year, indeed. SallyPAL Shoppe opening – Stay on the lookout for the SallyPAL Shoppe. I’ll have t-shirts, coffee mugs, all the usual fun high-quality performing arts kitsch at decent prices. If you don’t see anything in the store yet, stay tuned!       You’ve heard from my son Will Inman before and he’s back to talk about the new release of 1923 published works into the public domain, plagiarism, sharing your work, educational theatre, and some other cool stuff. Will’s plays have been produced in theaters from Texas to New York. He is currently a Cadence Pipeline New Works Fellow with Cadence Theatre in Richmond, Virginia. He’s been a featured student playwright with the VSA Kennedy Center plays, been performed with Tulsa SummerStage and Fringe festivals, Writopia Labs Comedy Playwriting Festival Houston University, Rogers State University, a portion of his play, The Lesbian Exhibit,  was performed at Torrent Theatre in New York City, and last year he won the inaugural Edward Albee Playwriting Award by Theresa Rebeck for his play Winners. Concise Advice from the Interview - 5 bits of advice about using public domain work: DO give attribution when you use someone else’s work. It’s not a requirement, but it’s important to recognize the work of other artists, especially if it inspires you. Develop a sense of context for the work you are modifying. Find out something about the history and culture of the originating artists to give depth to your work Dig around in the available digital archives and learn more about public domain works. It’s creative, it’s fun and it’s educational! Learn more about copyright law. As an artist, it’s up to you to know the difference between plagiarism and responsible evolution of artistic work. Don’t just crib work, use the public domain to inspire all new original works of theatre, music, and dance. Check out the blog, SallyPAL.com, for articles and podcast episodes. You, too, can be a SallyPAL. Thank you for following, sharing, subscribing, reviewing, joining, & thank you for listening. If you’re downloading and listening on your drive to work, or commenting and reviewing like my sister does, let me know you’re out there. Storytelling through performance is the most important thing we do as a culture. That’s why I encourage you to share your stories because you’re the only one with your particular point of view. And SallyPAL is here with resources, encouragement, and a growing community of storytellers. All the stories ever expressed once lived only in someone’s imagination… Now… Go Pretend!

Eilish managed onto screen for RTÉ include Hardy Bucks, Raw, Fade St, Any Time Now, No Tears (International Emmy for best series or serial), Love Is The Drug (IFTA best series), Fergus' Wedding, Paths to Freedom and Foreign Exchange. And for the BBC, Vicious Circle, Rap at the Door and Mezzone (RTS winner). She devised and managed StoryLand, a unique project when launched that saw 28 original online series produced. Prior to her work in TV, Eilish was an actor's agent in London and worked in marketing for Oxford University Press. She is a graduate of EAVE and North by Northwest. She has a BA in English and History of Art and an MA in Modern Drama from UCD. Currently, she works freelance as a story consultant and TV producer. Learn more about your ad choices. Visit megaphone.fm/adchoices

Eilish managed onto screen for RTÉ include Hardy Bucks, Raw, Fade St, Any Time Now, No Tears (International Emmy for best series or serial), Love Is The Drug (IFTA best series), Fergus' Wedding, Paths to Freedom and Foreign Exchange. And for the BBC, Vicious Circle, Rap at the Door and Mezzone (RTS winner). She devised and managed StoryLand, a unique project when launched that saw 28 original online series produced. Prior to her work in TV, Eilish was an actor’s agent in London and worked in marketing for Oxford University Press. She is a graduate of EAVE and North by Northwest. She has a BA in English and History of Art and an MA in Modern Drama from UCD. Currently, she works freelance as a story consultant and TV producer.

“How can the modern individual maintain control over his or her self-representation when the whole world seems to be watching?” This is the question that prompts Julia Fawcett‘s new book, Spectacular Disappearances: Celebrity and Privacy, 1696-1801 (University of Michigan Press, 2016). Drawing on a diverse range of material to analyze some of England's earliest modern celebrities, Fawcett offers a fascinating glimpse into the paradoxes of their eighteenth-century autobiographical performances. More than just the rise of celebrity culture she argues, these performances can help deepen our understanding of the making – and unmaking – of the modern self. Using creative, playful and transgressive techniques, the celebrities in Fawcett's study experimented with presenting themselves as legible to curious publics even as they obscured their identities through ‘overexpressive' acts that helped enable their spectacular disappearance. The result is a tantalizing narrative that continues to fascinate, three centuries later. Julia Fawcett is Assistant Professor in the Theatre Dance and Performance Studies Department at the University of California, Berkeley. Her research interests include Restoration and eighteenth-century theatre and performance, performance historiography, the intersections between literature and performance, autobiographical performance, urban space, celebrity, gender, and disability studies. She received her PhD in English Literature from Yale University, and has published essays in PMLA, The Eighteenth Century: Theory and Interpretation, and Modern Drama. Fawcett is currently working on her next book, Unmapping London: Performance and Urbanization after the Great Fire. Sitara Thobani is Assistant Professor in the Residential College in the Arts and Humanities, Michigan State University. Her research focuses on the performance arts in colonial and postcolonial South Asia and its diasporas, especially as these relate to formations of nation, gender, sexuality and religion. She received her DPhil in Social and Cultural Anthropology form Oxford University, and is the author of Indian Classical Dance and the Making of Postcolonial National Identities: Dancing on Empire's Stage (Routledge 2017). Learn more about your ad choices. Visit megaphone.fm/adchoices

“How can the modern individual maintain control over his or her self-representation when the whole world seems to be watching?” This is the question that prompts Julia Fawcett‘s new book, Spectacular Disappearances: Celebrity and Privacy, 1696-1801 (University of Michigan Press, 2016). Drawing on a diverse range of material to analyze some of England’s earliest modern celebrities, Fawcett offers a fascinating glimpse into the paradoxes of their eighteenth-century autobiographical performances. More than just the rise of celebrity culture she argues, these performances can help deepen our understanding of the making – and unmaking – of the modern self. Using creative, playful and transgressive techniques, the celebrities in Fawcett’s study experimented with presenting themselves as legible to curious publics even as they obscured their identities through ‘overexpressive’ acts that helped enable their spectacular disappearance. The result is a tantalizing narrative that continues to fascinate, three centuries later. Julia Fawcett is Assistant Professor in the Theatre Dance and Performance Studies Department at the University of California, Berkeley. Her research interests include Restoration and eighteenth-century theatre and performance, performance historiography, the intersections between literature and performance, autobiographical performance, urban space, celebrity, gender, and disability studies. She received her PhD in English Literature from Yale University, and has published essays in PMLA, The Eighteenth Century: Theory and Interpretation, and Modern Drama. Fawcett is currently working on her next book, Unmapping London: Performance and Urbanization after the Great Fire. Sitara Thobani is Assistant Professor in the Residential College in the Arts and Humanities, Michigan State University. Her research focuses on the performance arts in colonial and postcolonial South Asia and its diasporas, especially as these relate to formations of nation, gender, sexuality and religion. She received her DPhil in Social and Cultural Anthropology form Oxford University, and is the author of Indian Classical Dance and the Making of Postcolonial National Identities: Dancing on Empire’s Stage (Routledge 2017). Learn more about your ad choices. Visit megaphone.fm/adchoices

“How can the modern individual maintain control over his or her self-representation when the whole world seems to be watching?” This is the question that prompts Julia Fawcett‘s new book, Spectacular Disappearances: Celebrity and Privacy, 1696-1801 (University of Michigan Press, 2016). Drawing on a diverse range of material to analyze some of England’s earliest modern celebrities, Fawcett offers a fascinating glimpse into the paradoxes of their eighteenth-century autobiographical performances. More than just the rise of celebrity culture she argues, these performances can help deepen our understanding of the making – and unmaking – of the modern self. Using creative, playful and transgressive techniques, the celebrities in Fawcett’s study experimented with presenting themselves as legible to curious publics even as they obscured their identities through ‘overexpressive’ acts that helped enable their spectacular disappearance. The result is a tantalizing narrative that continues to fascinate, three centuries later. Julia Fawcett is Assistant Professor in the Theatre Dance and Performance Studies Department at the University of California, Berkeley. Her research interests include Restoration and eighteenth-century theatre and performance, performance historiography, the intersections between literature and performance, autobiographical performance, urban space, celebrity, gender, and disability studies. She received her PhD in English Literature from Yale University, and has published essays in PMLA, The Eighteenth Century: Theory and Interpretation, and Modern Drama. Fawcett is currently working on her next book, Unmapping London: Performance and Urbanization after the Great Fire. Sitara Thobani is Assistant Professor in the Residential College in the Arts and Humanities, Michigan State University. Her research focuses on the performance arts in colonial and postcolonial South Asia and its diasporas, especially as these relate to formations of nation, gender, sexuality and religion. She received her DPhil in Social and Cultural Anthropology form Oxford University, and is the author of Indian Classical Dance and the Making of Postcolonial National Identities: Dancing on Empire’s Stage (Routledge 2017). Learn more about your ad choices. Visit megaphone.fm/adchoices

“How can the modern individual maintain control over his or her self-representation when the whole world seems to be watching?” This is the question that prompts Julia Fawcett‘s new book, Spectacular Disappearances: Celebrity and Privacy, 1696-1801 (University of Michigan Press, 2016). Drawing on a diverse range of material to analyze some of England’s earliest modern celebrities, Fawcett offers a fascinating glimpse into the paradoxes of their eighteenth-century autobiographical performances. More than just the rise of celebrity culture she argues, these performances can help deepen our understanding of the making – and unmaking – of the modern self. Using creative, playful and transgressive techniques, the celebrities in Fawcett’s study experimented with presenting themselves as legible to curious publics even as they obscured their identities through ‘overexpressive’ acts that helped enable their spectacular disappearance. The result is a tantalizing narrative that continues to fascinate, three centuries later. Julia Fawcett is Assistant Professor in the Theatre Dance and Performance Studies Department at the University of California, Berkeley. Her research interests include Restoration and eighteenth-century theatre and performance, performance historiography, the intersections between literature and performance, autobiographical performance, urban space, celebrity, gender, and disability studies. She received her PhD in English Literature from Yale University, and has published essays in PMLA, The Eighteenth Century: Theory and Interpretation, and Modern Drama. Fawcett is currently working on her next book, Unmapping London: Performance and Urbanization after the Great Fire. Sitara Thobani is Assistant Professor in the Residential College in the Arts and Humanities, Michigan State University. Her research focuses on the performance arts in colonial and postcolonial South Asia and its diasporas, especially as these relate to formations of nation, gender, sexuality and religion. She received her DPhil in Social and Cultural Anthropology form Oxford University, and is the author of Indian Classical Dance and the Making of Postcolonial National Identities: Dancing on Empire’s Stage (Routledge 2017). Learn more about your ad choices. Visit megaphone.fm/adchoices

“How can the modern individual maintain control over his or her self-representation when the whole world seems to be watching?” This is the question that prompts Julia Fawcett‘s new book, Spectacular Disappearances: Celebrity and Privacy, 1696-1801 (University of Michigan Press, 2016). Drawing on a diverse range of material to analyze some of England’s earliest modern celebrities, Fawcett offers a fascinating glimpse into the paradoxes of their eighteenth-century autobiographical performances. More than just the rise of celebrity culture she argues, these performances can help deepen our understanding of the making – and unmaking – of the modern self. Using creative, playful and transgressive techniques, the celebrities in Fawcett’s study experimented with presenting themselves as legible to curious publics even as they obscured their identities through ‘overexpressive’ acts that helped enable their spectacular disappearance. The result is a tantalizing narrative that continues to fascinate, three centuries later. Julia Fawcett is Assistant Professor in the Theatre Dance and Performance Studies Department at the University of California, Berkeley. Her research interests include Restoration and eighteenth-century theatre and performance, performance historiography, the intersections between literature and performance, autobiographical performance, urban space, celebrity, gender, and disability studies. She received her PhD in English Literature from Yale University, and has published essays in PMLA, The Eighteenth Century: Theory and Interpretation, and Modern Drama. Fawcett is currently working on her next book, Unmapping London: Performance and Urbanization after the Great Fire. Sitara Thobani is Assistant Professor in the Residential College in the Arts and Humanities, Michigan State University. Her research focuses on the performance arts in colonial and postcolonial South Asia and its diasporas, especially as these relate to formations of nation, gender, sexuality and religion. She received her DPhil in Social and Cultural Anthropology form Oxford University, and is the author of Indian Classical Dance and the Making of Postcolonial National Identities: Dancing on Empire’s Stage (Routledge 2017). Learn more about your ad choices. Visit megaphone.fm/adchoices

“How can the modern individual maintain control over his or her self-representation when the whole world seems to be watching?” This is the question that prompts Julia Fawcett‘s new book, Spectacular Disappearances: Celebrity and Privacy, 1696-1801 (University of Michigan Press, 2016). Drawing on a diverse range of material to analyze some of England’s earliest modern celebrities, Fawcett offers a fascinating glimpse into the paradoxes of their eighteenth-century autobiographical performances. More than just the rise of celebrity culture she argues, these performances can help deepen our understanding of the making – and unmaking – of the modern self. Using creative, playful and transgressive techniques, the celebrities in Fawcett’s study experimented with presenting themselves as legible to curious publics even as they obscured their identities through ‘overexpressive’ acts that helped enable their spectacular disappearance. The result is a tantalizing narrative that continues to fascinate, three centuries later. Julia Fawcett is Assistant Professor in the Theatre Dance and Performance Studies Department at the University of California, Berkeley. Her research interests include Restoration and eighteenth-century theatre and performance, performance historiography, the intersections between literature and performance, autobiographical performance, urban space, celebrity, gender, and disability studies. She received her PhD in English Literature from Yale University, and has published essays in PMLA, The Eighteenth Century: Theory and Interpretation, and Modern Drama. Fawcett is currently working on her next book, Unmapping London: Performance and Urbanization after the Great Fire. Sitara Thobani is Assistant Professor in the Residential College in the Arts and Humanities, Michigan State University. Her research focuses on the performance arts in colonial and postcolonial South Asia and its diasporas, especially as these relate to formations of nation, gender, sexuality and religion. She received her DPhil in Social and Cultural Anthropology form Oxford University, and is the author of Indian Classical Dance and the Making of Postcolonial National Identities: Dancing on Empire’s Stage (Routledge 2017). Learn more about your ad choices. Visit megaphone.fm/adchoices

“How can the modern individual maintain control over his or her self-representation when the whole world seems to be watching?” This is the question that prompts Julia Fawcett‘s new book, Spectacular Disappearances: Celebrity and Privacy, 1696-1801 (University of Michigan Press, 2016). Drawing on a diverse range of material to analyze some of England’s earliest modern celebrities, Fawcett offers a fascinating glimpse into the paradoxes of their eighteenth-century autobiographical performances. More than just the rise of celebrity culture she argues, these performances can help deepen our understanding of the making – and unmaking – of the modern self. Using creative, playful and transgressive techniques, the celebrities in Fawcett’s study experimented with presenting themselves as legible to curious publics even as they obscured their identities through ‘overexpressive’ acts that helped enable their spectacular disappearance. The result is a tantalizing narrative that continues to fascinate, three centuries later. Julia Fawcett is Assistant Professor in the Theatre Dance and Performance Studies Department at the University of California, Berkeley. Her research interests include Restoration and eighteenth-century theatre and performance, performance historiography, the intersections between literature and performance, autobiographical performance, urban space, celebrity, gender, and disability studies. She received her PhD in English Literature from Yale University, and has published essays in PMLA, The Eighteenth Century: Theory and Interpretation, and Modern Drama. Fawcett is currently working on her next book, Unmapping London: Performance and Urbanization after the Great Fire. Sitara Thobani is Assistant Professor in the Residential College in the Arts and Humanities, Michigan State University. Her research focuses on the performance arts in colonial and postcolonial South Asia and its diasporas, especially as these relate to formations of nation, gender, sexuality and religion. She received her DPhil in Social and Cultural Anthropology form Oxford University, and is the author of Indian Classical Dance and the Making of Postcolonial National Identities: Dancing on Empire’s Stage (Routledge 2017). Learn more about your ad choices. Visit megaphone.fm/adchoices

Trenace Rose, Author of AKASHIC ALPHABET was introduced to Transcendental Meditation at age 16 and has been active in the Science of Yoga as a spiritual practice, for the last 28 years. While reading Paramahansa Yogananda’s book, The Second Coming of Christ, a seed for the new book was planted, blossoming into form through 6 years of research, solitude and ongoing meditation. With a university curriculum of English, Modern Drama and Shakespeare courses completed in England and a B.A. Degree from USC, at age 20 she was granted membership to the Screen Actors Guild in Hollywood and subsequently honored with various awards for Lyrics in Songwriting at the Nashville Song Festival and for Creative Writing at the Santa Barbara Writers Convention. In addition to serving as Project Facilitator for the Mindfulness Program at Scripps Center for Integrative Medicine in La Jolla, her fields of study have continued, including the Tao and Qi Gong, Buddhism, Shamanism, Holistic and Naturopathic Medicine, Nutritional Healing, Animal and Marine Mammal Communication, energetic healing, the Monroe Institute Hemi-Sync Method, astral travel and others. Then came the sacred gift of a satori, an out-of-body experience with supportive therapists present, that changed her life in a profound way.

This paper will trace attitudes to excessive consumption and fasting in the early modern period. By considering the church line on gluttony and fasting and how such excesses were regarded in sixteenth-century dietary literature we can get a sense of the strictures in place regarding this particular 'sin of the mouth'. Shakespeare was rather less judgemental than the Church and from his plays the paper will move to a close consideration of 'the hungry courtier' in Beaumont and Fletcher's The Woman Hater, showing that critics have hitherto overlooked an illuminating debt to Shakespeare in their depiction of the gluttonous figure.

An interdisciplinary discussion of Kirsten Shepherd-Barr's book Kirsten Shepherd-Barr (Associate Professor of Modern Drama, University of Oxford) discusses her book Theatre and Evolution from Ibsen to Beckett with Michael Billington (Theatre Critic, The Guardian), Morten Kringlebach (Associate Professor and Senior Research Fellow, Department of Psychiatry, University of Oxford) and Laura Marcus (Goldsmiths' Professor of English Literature). About the book: Evolutionary theory made its stage debut as early as the 1840s, reflecting a scientific advancement that was fast changing the world. Tracing this development in dozens of mainstream European and American plays, as well as in circus, vaudeville, pantomime, and "missing link" performances, Theatre and Evolution from Ibsen to Beckett reveals the deep, transformative entanglement among science, art, and culture in modern times. The stage proved to be no mere handmaiden to evolutionary science, though, often resisting and altering the ideas at its core. Many dramatists cast suspicion on the arguments of evolutionary theory and rejected its claims, even as they entertained its thrilling possibilities. Engaging directly with the relation of science and culture, this book considers the influence of not only Darwin but also Lamarck, Chambers, Spencer, Wallace, Haeckel, de Vries, and other evolutionists on 150 years of theater. It shares significant new insights into the work of Ibsen, Shaw, Wilder, and Beckett, and writes female playwrights, such as Susan Glaspell and Elizabeth Baker, into the theatrical record, unpacking their dramatic explorations of biological determinism, gender essentialism, the maternal instinct, and the "cult of motherhood." It is likely that more people encountered evolution at the theater than through any other art form in the late nineteenth and early twentieth centuries. Considering the liveliness and immediacy of the theater and its reliance on a diverse community of spectators and the power that entails, this book is a key text for grasping the extent of the public's adaptation to the new theory and the legacy of its representation on the perceived legitimacy (or illegitimacy) of scientific work.

Trenace Rose was introduced to Transcendental Meditation at age 16 which was the beginning of a passionate exploration into various cultural beliefs. She has been active in the Science of Yoga as a spiritual practice for the last 24 years and it was while reading one of Paramahansa Yogananda’s extraordinary passages in his book, The Second Coming of Christ, The Resurrection of the Christ Consciousness, that a seed for this book was planted, blossoming into form through 6 years of research, solitude and ongoing meditation. The author’s background includes a university curriculum of English, Modern Drama and Shakespeare courses completed in England and a B.A. Degree from USC. At age 20, she was granted membership to the Screen Actors Guild in Hollywood. During a diverse, freelance writing career, she has been honored with various awards for Lyrics in Songwriting at the Nashville Song Festival and Creative Writing at the Santa Barbara Writers Convention. In addition to serving as Project Facilitator for the Mindfulness Program at Scripps Center for Integrative Medicine in La Jolla, her fields of study continued, including the Tao and practice of Qigong, Buddhism, Shamanism, Naturopathy, Holistic Medicine, Nutritional Healing, Animal and Marine Mammal Communication, environmental awareness, astral travel, energetic healing modalities and the Hemi-Sync Method. Then came the sacred gift of a satori, an out-of-body experience with supportive therapists present that changed her life in a profound way. Website: http://www.akashicalphabet.com

An interdisciplinary discussion exploring the many possible approaches to representing science through the arts, as well as potential challenges The discussion begins with a presentation by Dr Kirsten Shepherd-Barr (Associate Professor in Modern Drama, University of Oxford) examining plays that have included scientific content from the Victorian era to Tom Stoppard and Michael Frayn. She will also explore the concept of “mediation”, examining how Frayn and Stoppard mediate the science using biography, history, and metaphor. This will be followed by responses from Professor Heidi Johansen-Berg (Professor of Cognitive Neuroscience, University of Oxford), Dr Jason Gaiger (Associate Professor, Contemporary Art History, University of Oxford) and Annie Cattrell (Artist, Tutor at the Royal College of Art and Reader in Fine Art at DeMontfort University). The discussion is chaired by Dr Dan O'Connor (Head of Humanities and Social Science, Wellcome Trust).

Institute of English Studies Hilda Hulme Memorial Lecture: ' "Shakespeare His Contemporaries": Exploring Early Modern Drama in a Digital Environment' Professor Martin Mueller (Professor emeritus of English and Classics, Northwestern University, I...

Institute of English Studies Hilda Hulme Memorial Lecture: ' "Shakespeare His Contemporaries": Exploring Early Modern Drama in a Digital Environment' Professor Martin Mueller (Professor emeritus of English and Classics, Northwestern University, I...