SUMMARY

The thread linking my various projects is a unifying interest in afterlives, adaptations, and remediations of early modern and other classical drama, with particular interest in their relationship to digital cultures. Under that umbrella, my work is best described as inter- and multi-disciplinary, with links to theatre, drama, and performance, English literature, (digital) cultural studies, fan and fiction studies, and theatre history and historiography.

 

Currently, I am streamlining my research agenda behind the Measure (Still) for Measure project, which has two related strands:

PRACTICE as RESEARCH – Measure (Still) for Measure

  • Long-term, impact-focused project adapting  Shakespeare & Middleton’s Measure for Measure to facilitate discussions about rape culture and instigate cultural and policy changes in educational institutions.
  • Currently in the process of applying for Knowledge Exchange Funding through University of Bristol to extend the project’s reach and begin development of a toolkit for publication. This is a major component of the project’s impact agenda. 
  • Completed 2017 pilot phase as an artist-in-residence with the Advanced Acting class at Nichols School (NY)
  • Awarded a space for Research & Development in 2016 by the Bike Shed Theatre & Exeter City Council.
  • International collaboration with partners in the UK, India, Ireland, Canada, France, and the United States
  • More information can be found at http://measurestill.wordpress.com.
  • Outputs to date include an article in PARtake and an episode of Howlround’s Theater History Podcast (see ‘Publications’), as well as a number of invited talks and workshops.

MONOGRAPH – Staging Gendered Violence in Canonical Drama

  • Arising from the PaR strand, the monograph addresses the ways in which contemporary theatre allows Shakespeare and other canonical drama scope to stage and represent  gendered violence in ways that would be unacceptable for new plays. The cultural capital of this canonical drama protects it from necessary criticism and intervention, and that needs to change.
  • The book argues for meaningful interventions at the levels of:
    • casting, hiring, and programming;
    • dramaturgy and adaptation;
    • paratheatrical framing.
  • Alternating theoretical/critical chapters with reflective writing about the Measure (Still) for Measure process, I will suggest that failing to make these interventions results in tacit (or even explicit) glorifying and/or trivialising of problematic approaches to consent and agency, which intersect with questions of race, gender, sexuality, and class.

 

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