The following 3 experts are listed against your chosen search criteria of:
Mr Alistair Campbell
I specialise in applied drama, devised drama and interactive performance. I am also interested in the impact of performance on social development work. Other research interests include community opera, rituals, processions and cross-generational work.
Prof Nicholas Ridout
In my research I am interested in developing a political understanding of the theatrical event, an am influenced by Middle Eastern and Arab politics. This means thinking about theatre as an instance of cultural production, as an affective experience and as a mode of social organisation. The main focus of my work so far has been on the theatre of modern capitalism, in which people spend their leisure time sitting in the dark watching other people working in the light. I have also written about opera, about experimental theatre in Europe, and, for over ten years I have found constant inspiration in the work of the Italian theatre company, Socìetas Raffaello Sanzio.
Dr Aoife Monks
I'm a theatre historian who studies the peculiarities of acting, in the form of star and virtuoso performances, 19th century Stage Irish and blackface minstrel performers, the role of fashion and costume in the star system, sentimentality, superstition and backstage cultures at the theatre, nudity onstage, and acting training and practice. I'm also interested in various forms and histories of popular Irishness, such as the work of Michael Flatley, Riverdance, St Patrick's Day Parades, Dion Boucicault, nationalist speeches from the dock and the Irish ballad. I write on performance and the law, examining how the law is performed onstage, and how the law is itself theatrical. I have a particular expertise in theatre costume, considering its relationship to systems of fashion, dress reform, archives and museums, actorly superstition and of course, asking the most important question: 'what should ghosts wear in performance?'