Backpages 27.1

Abstract

Backpages is an opportunity for the academy to engage with theatre and performance practice with immediacy and insight and for theatre workers and performance artists to engage critically and reflectively on their work and the work of their peers.

Notes

¹ @RealGlobe2018, Twitter, 1.18pm 25 October 2016.

² @smithalistair, Twitter, 4.36pm 25 October 2016.

³ Shakespeare’s Globe, ‘Statement Regarding the Globe’s Future Artistic Direction’, Shakespeare’s Globe, 2016 <http://blog.shakespearesglobe.com/post/152286922818/statement-regarding-the-globes-future-artistic> [accessed 9 November 2016].

⁴ Lyn Gardner, ‘Emma Rice is Right to Experiment at the Globe – Art Should Reinvent, Not Replicate’, Guardian, 28 September 2016 <https://www.theguardian.com/stage/theatreblog/2016/sep/28/emma-rice-shakespeares-globe-theatre-modern-audiences> [accessed on 9 November 2016].

⁵ Andrzej Lukowski, ‘“It’s very tragic”: Mark Rylance Speaks Out About Emma Rice’s Shock Departure from the Globe’, Time Out London, 3 November 2016 <http://www.timeout.com/london/blog/its-very-tragic-mark-rylance-speaks-out-about-emma-rices-shock-departure-from-the-globe-110316> [accessed 9 November 2016].

⁶ Matthew Hemley, ‘Shakespeare Academic Defends Globe Board’s Decision to Remove Emma Rice’, The Stage, 27 October 2016 < https://www.thestage.co.uk/news/2016/shakespeare-academic-defends-globe-boards-decision-to-remove-emma-rice> [accessed 9 November 2016].

⁷ Lukowski, ‘Rylance speaks out’.

⁸ Tom Cornford, ‘Reconstructing Theatre: The Globe under Dominic Dromgoole’, New Theatre Quarterly, 26.4 (2010), 319-28.

⁹ Paul Prescott, ‘Sam Wanamaker’ in Great Shakespeareans Volume 15: Poel, Granville Barker, Guthrie, Wanamaker, ed. by Cary M. Mazer (London: Bloomsbury, 2013), pp. 151-210 (p. 153).

¹⁰ Duška Radosavljević, Theatre-Making: Interplay Between Text and Performance in the 21^st Century (Basingstoke: Palgrave Macmillan, 2013), pp. 57-58.

¹¹ Ibid., p. 58.

¹² Kate Maltby, ‘Emma Rice was Never as Radical as She Thought She Was’, The Spectator, 26 October 2016 <http://blogs.spectator.co.uk/2016/10/emma-rice-never-radical-thought/> [accessed 9 November 2016].

¹³ Many thanks to Jami Rogers, researcher on the University of Warwick’s British Black and Asian Shakespeare Project for supplying this information.

¹⁴ We should note, however, that Helena was re-gendered in the other direction to become Helenus in Rice’s A Midsummer Night’s Dream, and that there was no re-gendering of a leading role in the season.

¹⁵ There are echoes here, too, of the National Theatre’s recent, chaotic handling of Tessa Ross’s brief period as joint Chief Executive with Rufus Norris.

¹⁶ Shakespeare’s Globe, ‘Statement Regarding Globe’s Future Artistic Direction’.

¹⁷ Matthew Hemley, ‘Emma Rice Decision Prompts Charity to Shelve Future Globe Funding’, The Stage (2016) <https://www.thestage.co.uk/news/2016/emma-rice-charity-shelve-funding-globe/> [accessed on 9 November 2016].

¹⁸ See Hugh Hughes’s personal website at <http://www.hughhughes.me/> [accessed 20 November 2016].

¹⁹ Maddy Costa, ‘Beware the Alien Bakers’, Guardian, 23 August 2007, <https://www.theguardian.com/culture/2007/aug/23/edinburghfestival2007.edinburghfestival2> [accessed 31 October 2016].

²⁰ See Andrew Haydon, ‘Europe: A Tragedy of Love and Ideology’, Postcards From the Gods 26 June 2016 <http://postcardsgods.blogspot.co.uk/2016/06/europe-tragedy-of-love-and-ideology.html>

²¹ For further discussion of quite the best news see: Andrew Haydon, ‘quite the best news in some considerable time (rinse and repeat version) – Arts 2, QMU, L’, Postcards From the Gods, 14 June 2016 <http://postcardsgods.blogspot.co.uk/2016/06/quite-best-news-in-some-considerable.html>

²² ‘Offener Brief’, Volksbuehne, 20 June 2016 <https://www.volksbuehne-berlin.de/deutsch/offener_brief/> [accessed 1 December 2016].

²³ ‘Zizek! – Full Transcript’, BeanHu’s Blog 7 December 2009 <https://beanhu.wordpress.com/2009/12/07/zizek/> [accessed 1 December 2016].

²⁴ ‘Offener Brief’, Volksbuene.

²⁵ Philip Oltermann, ‘Open Letter Turns Spotlight on Berlin Volksbühne Theatre’s Offstage Drama’, Guardian, 23 June 2016 <https://www.theguardian.com/world/2016/jun/23/open-letter-turns-spotlight-on-berlin-volksbuhne-theatres-offstage-drama> [accessed 1 December 2016].

²⁶ From an unpublished interview with the author, 25 June 2016.

²⁷ Paul Mason, ‘Britain is not a Rainy, Fascist Island – Here’s My Plan for ProgrExit’, Guardian, 25 June 2016 <https://www.theguardian.com/commentisfree/2016/jun/25/britain-rainy-fascist-island-progrexit-brexit> [accessed 1 December 2016].

²⁸ Miguel Urbán Crespo qtd. in Philip Oltermann, ‘Yanis Varoufakis launches pan-European Leftwing Movement DiEM25’, Guardian, 10 February 2016 < https://www.theguardian.com/world/2016/feb/10/yanis-varoufakis-launches-pan-european-leftwing-movement-diem25> [accessed 1 December 2016].

²⁹ Matt Trueman, ‘Theatre is the Antidote to Poisonous Politics’,WhatsonStage, 20 June 2016 <http://www.whatsonstage.com/london-theatre/news/matt-trueman-our-divided-times-need-theatre_41051.html> [accessed 1 December 2016].

³⁰ Andre Lepecki, ‘The Body as Archive: Will to Re-Enact and the Afterlives of Dances’, Dance Research Journal, 42.2 (2010), 22-48 (p. 46).

³¹ Jacques Derrida, ‘Archive Fever: A Freudian Impression’, Diacritics, 25.2 (1995), 9-63.

³² Ala Alazzeh, ‘Seeking Popular Participation: Nostalgia for the First Intifada in the West Bank’, Settler Colonial Studies, 25.3 (2015), 251-61.