Identity and atrocity: international theatre since 1945

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 (sophie.duncan@ell.ox.ac.uk). 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.

Identity and atrocity: international theatre since 1945

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!

Description:

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).

Life at Christ Church (six weeks in)

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obviously the House (I managed to say it!) doesn’t still look like a sun-kissed Loire valley chateau, it now looks like a resentful Venetian winter.

I am now six weeks into my new job. For the next five years, I shall be Fellow in English at Christ Church at the University of Oxford, teaching literature 1550–1760 to undergraduates, and supervising undergraduate and postgraduate work on drama from the Renaissance to the present day. My colleagues’ friendliness belies the buildings’ grandeur, afternoon tea is served daily, it’s the sole Oxford college with its own art room, and the students like play-readings and crisps. For the past four years, my contract has been full-time research with a significant, although intermittent, amount of BA and Master’s teaching across the last four-and-a-half-centuries of Anglophone literature – this is definitely more intense. But teaching the third-year Shakespeare paper alongside the second-year Renaissance paper is rich and rewarding. One reason is that the intensity of tutorial teaching gives tutor and students alike the luxury of focusing on the process and skill of writing as much as on literature. Although Oxford terms can often combine the worst of sprints and marathons, I’m trying to find spaces to help already strong writers develop their written style – and structures – as quickly as possible. Essays are, after all, attempts and experiments, and tutorial teaching allows them to be just that.

The other reason it’s so rewarding is the obvious one: the literature. I was always going to love reading and discussing essays on the drama of this period (i.e. the reason I’m an academic), whether it’s realising why A Woman Killed With Kindness should be read alongside Coriolanus, or getting excited about all the different ways you can die from an Early Modern painting. At the same time, though, it’s been great to work again on John Donne, and Anne Locke, and Thomas Southwell, among others.

Of course, I’m on my second cold in six weeks, I really need a haircut, and my face is falling off. I have, however, overspent on a Christmas tree for my office (there was an even pricier one with two-tone branches. I mourn it). Only two weeks left til Oxmas.

 

Weekend Miscellany

(This is a type of post stolen entirely from the lovely Simon at Stuck In A Book. Simon and I first met when we were the only two Masters students who wanted to do nineteenth- and twentieth-century drama. Simon now has a job that I don’t really understand, but which seems to involve him using MS Paint for money, at OUP. Over the years, Simon has introduced me to many things, including the Magdalen salad bar, Irene Vamburgh, and middlebrow interwar women’s fiction. Kirstie Allsopp once replied to him on Twitter).

  • This weekend, I have been reading How To Live Alone And Like It [1936] and Diary of a Provincial Lady for the first time. The first is a bible for the ‘extra woman’ and a fabulous guide to having a really nice life in one’s London flat. My flat is in Oxford, and I don’t have a maid, so by the book’s standards, I am already failing. I do wholeheartedly concur that one should have manicures and delicious food and splendid clothes whenever possible. I don’t think Margaret Hillis would approve of me eating yoghurt in my pyjamas while I proofread. I would like to read this book forty-five times and then travel back to 1936 and live the book while dressed entirely as Harriet Vane. Diary of a Provincial Lady is also wonderful. Mademoiselle and Vicky are my favourites. What I love most is how they all sit around fretting about pawning great-aunt’s diamond ring and/or the general proximity to penury, but never consider dismissing the servants.
  • I also reviewed Bitch Boxer, now playing at the Soho Theatre – read the review here.
  • An American photography and fashion blogger, Melissa Aquino, uploaded scans of the late-90s US catalogue dELiA*s, with its fashion for pre-teen girls. I have been howling in recognition. Whilst I always lived in & bought clothes in the UK, visceral memories of Tammy, Red Herring and the equivalent publications – Girl Talk, Shout, Mizz, Sugar, and the highly unsuitable More – came flooding back. I had Kangaroo platform trainers with a bit of a platform. And things with stripes down the side. What can I say? I was 11, it was 1998, and I think my parents were mostly relieved I’d come out of the Black Clothes Phase that had started when I was seven. In the spirit of the 90s, I’d like a Body Shop lip balm, some gel pens, a chain letter and a nice blue hair mascara.
  • I am currently designing my first ever term-length Shakespearean syllabus (I’ve taught Shakespeare quite a bit in the past, but not designed a course myself). This is hugely exciting. Those of you who’ve course-built yourselves, how do you prefer to structure it?
  • Other things I like: the University of Leicester and Dickens Journals‘ collaborative project to read Wilkie Collins’s No Name online; the utterly fabulous Spanish Les Mis rendition of One Day More, “Sal el Sol” (Geronimo Rauch is the current West End Valjean. The Spanish Enjolras is just pretty); and, crucially, this gin brooch (which was in the Modern Art Oxford shop for £5 more, chuh).

I will now carry on imbibing Radio 4 and trying to rewrite my latest chapter. I have pages and pages of proper theatrical history to get through before I’m allowed to talk about vampires.

[Lectures] Before Oscar 2013

Before Oscar

Before Oscar:

Reading Gender and Sexuality Pre-1880

a cross-period lecture series

Hilary Term 2013

2pm Wednesdays – Weeks 1-8 – Seminar Room K

Oxford University Faculty of English, Manor Rd, Oxford

Crossing period and national boundaries, this lecture series will introduce the pleasures and dangers of reading pre-twentieth century literature through a queer-studies and gender-studies lens.

1st Week, 16th January, Sophie Duncan

“The Reinvention of Love”:

or, why the Victorians didn’t think Oscar Wilde was built that way

2nd Week, 23rd January, Emma Smith

The Room in the Elephant: Shakespeare and Sexuality Again

3rd Week, 30th January, Bronwyn Johnston

Gendering Magic: Male Witches and Female Magicians on the Early Modern Stage

4th Week, 6th February, Anna Camilleri

Que(e)rying Poetics from Pope to Byron, or, Doing Boys Like They’re Girls and Girls Like They’re Boys in the Long Eighteenth Century

5th Week, 13th February, Liv Robinson

Reading Gender in the Romance of the Rose

6th Week, 20th February, Daniel Thomas

Belocen on ecnysse: the spatialization of gender in Old English literature

7th Week, 27th February, Anna Caughey

Blood, Sweat and Tears: Chivalry and Masculinity

8th Week, 6th March, Naomi Wolf, title TBA*

* please note that in Week 8, lecture will take place in Lecture Theatre 2.

Building on the success of last year’s Before Oscar lecture series, we’re back in 2013 – now with added Emma Smith and Naomi Wolf. I hope to see many of you there (you may have noticed that I’m first up, this coming Wednesday…).

Good luck to the English Finalists!

My first stable crop of BA (Hons) English Language and Literature finalists start their exams this morning. Everyone not tutoring finalists for the first time thinks I am over-invested. All my peers who are tutoring finalists for the first time agree that the experience is, you know, just a little like taking Finals again, several times, with no control over the outcomes!

My thoughts will be in the Exam Schools every morning this week. I am so proud of them all – which includes my non-student undergraduate friends, especially the wonderful NDK – for getting this far, and know they’ll do well (I’m already dying for July and the results). Oxford Finals are horrendous, and English is particularly tough because it’s so early & intense in the season. They’ll have an exam every morning this week, and then a final exam (which, like most of the others, lasts three hours) next Tuesday. The good thing is that Englishers also finish very early, leading to the GOLD RUSH: three glorious weeks of nostalgia, booze, punting, parties and (when not desperately cramming in aquatinted, heart-melting dreaming-spires experiences for the v. last time unless you just do more degrees) blessed, blessed sleep while everyone else still has exams to do.

In the spirit of things, here’s a picture of me finishing Finals in June 2008. Oh, goodness, just – if you’re finishing your Oxford BA this term, do everything in those amazing weeks which follow. I’ll stop now before, like, Tom Lehrer, I’m so-o-ggy with nostalgia, but, yes. Love is the only education worth having, and I loved (the last part) of that last Trinity term.

…of course, it wasn’t the last term at all, and I hope it won’t be for some of my finalists, but nonetheless…. /recruitment drive for eternal ACADEMIA.

The History of the English Language: (1943) and (2011)

Competing (and interestingly conflicting) histories of the English language. The first is by the British Council, produced in 1943, with according anti-German propaganda, emphasis on John of Gaunt’s Richard II “sceptred isle” speech, and a  cameo by Churchill. The second collates the 10 shorter videos produced by the Open University, narrated by satirist and Private Eye editor Ian Hislop.

1) History of the English Language (1943)

2) The History of English in Ten Minutes (2011)

 

As you may have guessed, my teaching for the the Final Honours School Linguistics paper begins tomorrow! Hurrah for Private Eye‘s contribution to the same. In other news, I am going to Montpelier to perform in Antony & Cleopatra.

In news the third, I would like to make an official declaration that it is never, ever sexist to ask a five-foot-tall girl if she would like any help lifting a frankly ludicrously large suitcase from high train to platform. All those decent, strapping men forced by equality-panic to disguise themselves as bovine, selfish oafs (for indeed, this can be the only explanation): consider yourselves relieved of your potential chauvinist arsery. Ask me if I’d like some help. You will STILL be enlightened male feminists. I promise.