Phrases like post-truth and fake news are closely associated with Brexit and Trump, but the antecedent of modern disinformation is Holocaust denial.
Holocaust denial is as much about the tarnishing of expertise as it is an anti-semitic conspiracy theory. But a conspiracy can only succeed if people Continue reading “The Politics of Denialism is Becoming the New Normal”
I teach a performative writing class on Rose Bruford’s MA in Actor and Performer Training. The activity of writing is considered performative in it’s capacity to create worlds out of language. The students are tasked with creating a Vade Mecum (latin for ‘Go With Me’) as part of their final submission. Teaching this module has given me the chance to reflect on how documenting classroom activities need not be a perfunctory exercise or Continue reading “Vade Mecum at Rose Bruford College”
Ella Road’s The Phlebotomist (currently playing at Hampstead Theatre) is part of a growing trend of plays dealing with surviving the everyday. It has thematic resonances with Mike Bartlett’s Game, Philip Ridley’s Radiant Vermin and Lucy Kirkwood’s The Children, all plays that put the desperate desire to create a stable home in conflict with the responsibilities we have to future generations. Continue reading “The Domesticated Survival Play”
This post was originally published on the CityLIS Blog
The University of Malta’s fifth annual School of Performing Arts Conference was held on 7th-9th March. The title of this year’s conference was Cities, Embodiments and Technologies. The conference sought to generate debate on the how the relationship between performance (in its broadest sense) and culture can be articulated. Cities, Embodiments and Technologies were Continue reading “Reflections on the Cities, Embodiments and Culture Conference”
I’m part of a dying breed – or part of an elite, it’s hard to tell these days – in that I subscribe to the New Statesman. Save for the ubiquitous adverts for wine and umbrellas it’s a really great publication. It contains some of the best criticism available. Some of the long form essays by critics such as John Gray and Rowan Williams are divine. But I’ve noticed in recent months that Helen Lewis is now doubling as it’s theatre critic. And this is a problem. Continue reading “Where have all the theatre critics gone?”