Theatre in the Dark: Shadow, Gloom and Blackout in Contemporary Theatre
- Submitting institution
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Goldsmiths' College
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 3508
- Type
- A - Authored book
- DOI
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10.5040/9781474251211
- Publisher
- Bloomsbury
- ISBN
- 9781474251181
- Open access status
- -
- Month of publication
- July
- Year of publication
- 2017
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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T - Theatre and Performance
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- The shape and scope of this volume was set with Alston’s convening of a symposium in 2014 (‘Theatre in the Dark’, University of Surrey), for which he was sole organiser. This led to the inclusion of chapters by Jarvis, Kendrick, Home-Cook and Espiner, Machon and Lundahl & Seitl, Cavallo and Oshodi, Kotzamani, and Welton. The symposium also defined the book’s three core sections: ‘Dark Aesthetics’, ‘Dark Phenomena’, and ‘Shadow, Night and Gloom’ (although the last was re-titled). The two remaining chapter contributions were subsequently commissioned by the editors, with Palmer’s growing out of a series of smaller research events (‘Dialogues on Darkness’) co-convened by the editors between 2014 and 2016. Additional public-engagement activities produced at and in collaboration with Battersea Arts Centre (London, UK) were also held at the time of the book’s launch, including a post-show discussion (featuring Alston, Neath, Rosenberg and Welton), and a curated night of performances performed in partial or complete darkness. In addition to their own respective chapters, the editors also interviewed Home-Cook and Espiner for the volume, and co-wrote an extended Introduction (10,600 words) involving an expansive review of practice and literature, comprehensive historicisation, and an opening out of the topic to a range of relevant fields and international contexts. In preparing his single-authored chapter, Alston staged a further series of interviews with performance makers and cultural entrepreneurs including Edouard de Broglie (Dans Le Noir), Sally Essex-Lopresti (Odyssey Theatre), Caroline Hobkinson, Martin Gent (dA dA dUMB), and Loy Machedo, in addition to a more sustained dialogue with Tom Espiner, Extant, Lundahl & Seitl, Glen Neath and David Rosenberg that informed the development of the book’s framing, as well as its legacy, having served in an advisory capacity or collaborated with each on a range of creative and pedagogic projects.
- Author contribution statement
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- Non-English
- No
- English abstract
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