We welcome proposals for 20-minute papers from scholars and practitioners in theatre and related disciplines. Suggestions for topics include, but are not limited to:
older actresses on and off stage: as performers, managers, stage-managers, playwrights, producers, directors, and teachers, 1660–present.
older actresses – their approaches to acting and their creative and career strategies
older actresses and the one woman show
older actresses – stage v. film and television
older actresses on ageism and the politics of transgression
writing by older actresses, e.g. memoirs
genealogies of female performance and concepts of female ‘succession’
retirement and its alternatives
‘canonical’ roles for older women; repertoire and ageing
older actresses and non-traditional casting
the depiction of older actresses and/or fictional older actresses in criticism, journalism, literature, the visual arts, and film
ageism, ageing, and the body in casting, rehearsal, performance, and reception
older actresses with additional marginalised identities, including LBT older actresses, BAME actresses, and actresses with disabilities (including age-related disabilities); the intersection of age with other kinds of marginalisation
the older actress in theatre historiography and as theatre historian
retrospectives, gala performances, honours lists and becoming a ’national treasure’.
This post is a quick resource for students attending my lecture series (title above) in HT 2019. Links to all the handouts shared online are available below. Feedback is welcome, either in the comments section to this post or via email (email@example.com). The last lecture in the series will take place this Friday (Friday 15 February 2019) at 11 a.m. in Seminar Room K. All welcome.
Week 1: Southern Gothic, Gay Panic: Tennessee Williams’s Cat On A Hot Tin Roof (1955) and Suddenly Last Summer (1958). Handout.
Week 2: Beckett’s History Plays:Krapp’s Last Tape (1957)and Endgame (1958). Handout.
Week 3: Colonialism: fantasies and nightmares in Caryl Churchill’s The Hospital at the Time of the Revolution (1972) and Timberlake Wertenbaker’s Our Country’s Good (1988). Handout.
Week 4: Sexuality and the Holocaust play: Martin Sherman’s Bent (1979)and Sarah Kane’s Cleansed (1998). Handout.
Week 5: Black Histories: Athol Fugard, John Kani, and Winston Ntshona’s The Island (1972) and Lolita Chakrabarti’s Red Velvet (2012). Handout.
Thank you to all those who have attended the lectures or been in touch about them – you can still discuss the series on Twitter, via the hashtag #IDtheatre.
I’m delighted to be giving a keynote talk at the conference Women and Power: Redressing the Balance, which runs 6–7 March at St Hugh’s College, University of Oxford. Jointly convened by the National Trust and Oxford, the title responds to the National Public Programme ‘Women and Power’ which the Trust ran in 2018. I’ll be talking about my work with the Trust, researching stories of (pro- and anti-)suffrage and feminist activity in approx 108 Trust places in England, Wales, and Northern Ireland, and writing the book Women and Power: The Struggle for Suffragealongside Rachael Lennon. Excitingly, said book is now a finalist at the ACE Awards for Best Guidebook with a turnover of over £1,000,000! I fear this may be the only time in my writing career that “turnover of over £1,000,000” is associated with my name. Do check out the other finalists across the categories – sadly, the judges are actual experts and not a Strictly-style phone-in, or I would be going absolutely mad for Suffraduck (Best Product, fighting off competition from Lady Macbeth’s Hand Sanitizer and a RAF tshirt) and the RAF teddy (Best Toy, vs. Build Your Own Lifeboat and a gargoyle).
It would be great to see you at the Women & Power conference! Speakers from museums, historic houses, theatres, and art galleries cover issues from LBTQ women’s histories to women’s presences in the National Archives, Wikimedia, and the DNB. The other keynote speakers are Annie Reilly (National Trust) and Melissa Benn (MELISSA BENN) so please do come if you can. To attend the conference, book here
To download the programme, click here. Any questions, please get in touch below.
This post is to publicise my lecture series this term on Identity and Atrocity in Anglophone theatre since 1945. It’ll be happening on Fridays at 11.15 in Lecture Room K of the English Faculty for Weeks 1–5 of term (18 Jan to 15 Feb), and the outline is below. For more information, leave a comment or email me (sophie.duncan at chch.ox.ac.uk). I’ll be tweeting about the lecture series at #IDtheatre – please join in, whether you’re attending or not!
This series looks at theatre written and performed in Britain, Ireland, America, South Africa and continental Europe since 1945, thinking about how drama presents transgressive and marginalised racial, sexual, and national identities when plays bring the past onstage. The plays in this series, disparate in form and setting, introduce post-1945 drama’s international contexts, exploring some of theatre’s most iconoclastic and influential responses to atrocity. All plays listed below are available via the database Drama Online, except The Island, copies of which are available in various university libraries. Key primary texts include:
Week 1: Southern Gothic, Gay Panic: Tennessee Williams’s Cat On A Hot Tin Roof (1955) and Suddenly Last Summer (1958).
Week 2: Beckett’s History Plays:Krapp’s Last Tape (1957)and Endgame (1958).
Week 3: Colonialism: fantasies and nightmares in Caryl Churchill’s The Hospital at the Time of the Revolution (1972) and Timberlake Wertenbaker’s Our Country’s Good (1988).
Week 4: Sexuality and the Holocaust play: Martin Sherman’s Bent (1979)and Sarah Kane’s Cleansed (1998).
Week 5: Blackness and Adaptation: Athol Fugard, John Kani, and Winston Ntshona’s The Island (1972) and Lolita Chakrabarti’s Red Velvet (2012).
N.B. these are not what the articles are called, because the whole point of the collaboration is to provide scholarly and straightforward introductions to important figures in the history of Trust properties, to be read seriously and with informative effect. But those are the article titles in spirit.
I co-wrote the book with the brilliant Rachael Lennon. Our foreword was by Laura Bates, founder of the Everyday Sexism project. The book is based on research I did as academic lead on the Trust’s Women and Power project for 2018.
Here’s some blurb:
Celebrating a year of ‘Women & Power’ programmes throughout the Trust, this book explores the roles of National Trust places in the women’s suffrage movement, through the people who lived and worked in them – from the Midlands kitchen-maid turned suffragette arsonist to the aristocratic dynasties split by a daughter’s campaigning. As well as offering a broad history of the Suffrage movement, readers will discover some of the debates heard in the drawing rooms, kitchens and bedrooms of National Trust places as the country fought over whether, and how, a woman might have a voice in public life. We continue to see the footprints of this intensely political argument in the places and collections cared for by the Trust across England, Wales and Northern Ireland.
Working on this book was a joy, and the end result is – thanks to the Trust’s art researchers, and our great editor, Claire Masset – a beautiful thing.
Read the book? Visited a National Trust property alongside it? Thrilled or outraged about the amount of suffrage and feminist history on display? Let me know.
This has nothing to do with Jesus and everything to do with homophobia. Few people mind your Jesus (well, I mind your Jesus, but not Jesus per se, I’m a Christian after all). A lot of people mind your evasive reptilian bigotry.
Again: straight white Christian man resigns on grounds of persecution while poor people literally burn to death in tower block, and yet the failure of one homophobe to achieve his desired public office (Theresa May & the DUP indicate that other frothing bigots manage, Tim, maybe the problem is you?) is what should really be shaming our society.