(Currently the idea is that) My doctoral research will look at Shakespeare performance history, focusing on stage performances of the Late Plays from about the 1860 to about 1933. I could go on, but the ideas are still as full of parentheses and italics as the King James Bible. But a post discussing television theatre before the war on the excellent Illuminations blog, makes me wonder how far I should include filmed performances. I’d thought about this in a leisurely way before, only been able to recollect one silent version of The Tempest (watched for interest, as an undergrad) and danced a mental jig, before shelving the thought again.
I’m not much further on (this post is just a placeholder), but reading John’s article made me realise how excited I am to be working on performance history in the first half of the twentieth century. Part of my Masters was a course on British Theatre 1850-1900 and 1950-2000, but 1900 (well, 1910-) to 1950 is something new. What I know so far hangs off (mostly) the later work of Terry, Achurch, Robbins and the Bensons – a heterogenous group.
Anyway, yes. It’s a sunny afternoon and I’ve spent it by the river, face-painted and reading stories to the under-5s, as part of the Stratford River Festival. Tomorrow, I’m going to see a friend perform his first Mass. My brain is enjoying a weekend off from work, and a chance to go ‘ooh, that’s interesting’ rather than dash between jobs. I’m also spring-cleaning and revisiting my teenage CD collection; without exception, anything that anyone could class as ‘good’ was burnt/bought for me by somebody else. This hasn’t changed.
P.S.: Happy Pride!
Dr Sophie Duncan is Fellow in English at Christ Church, University of Oxford. She works regularly as a historical advisor and as a dramaturg for theatre, TV, radio and film. She likes theatre, detective fiction and cocktails.