Academic literature on the topic 'Baz Kershaw'
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Journal articles on the topic "Baz Kershaw"
1
Paget, Derek. "The Precariousness of Political Theatre." New Theatre Quarterly 16, no. 4 (November 2000): 388–90. http://dx.doi.org/10.1017/s0266464x00014135.
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LIKE Holden Caulfield in The Catcher in the Rye, I find myself wanting to ring up ‘old Baz Kershaw’. The insertion of personal history into an academic text that is to be found in The Radical in Performance, in itself radical, inspires this tactic. It also inspires my determination to refer to ‘Baz’ throughout this response. The available alternatives just don't feel right: ‘Kershaw’ carries reminders of the 1950s grammar school that (mis-) shaped me; ‘Professor Kershaw’ seems curiously over-formal in the context of my enjoyment of this book; ‘Barrie Kershaw’ (yes, I saw him once quoted as such in the THES) is frankly unfamiliar; ‘the author’ a coy statement of the obvious.
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Kershaw, Baz. "Fighting in the Streets: Dramaturgies of Popular Protest, 1968—1989." New Theatre Quarterly 13, no. 51 (August 1997): 255–76. http://dx.doi.org/10.1017/s0266464x0001126x.
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Everybody would agree that agitational political theatre has fallen on hard times, but whether this is due to a changed political climate, a changed theatre, or a more politicized relationship between companies and funding bodies remains a matter for debate. Here, Baz Kershaw adopts a lateral approach to the problem, looking not at dramatized forms of protest but at protest as an action which has itself become increasingly theatricalized – in part owing to its own tactics and choices, in part to the ways in which media coverage creates its own version of politics as performance. After looking at the major focuses of protest in two decades after 1968, Baz Kershaw examines the ways in which political and performance theory has and has not addressed the issue. Presently Head of the Department of Theatre Studies in the University of Lancaster, his previous publications includeEngineers of the Imagination: the Welfare State Handbook(with Tony Coult, 1983) andthe Politics of Performance: Political Theatre as Cultural Intervention(1992).
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Kershaw, Baz. "Poaching in Thatcherland: a Case of Radical Community Theatre." New Theatre Quarterly 9, no. 34 (May 1993): 121–33. http://dx.doi.org/10.1017/s0266464x00007715.
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EMMA was one of the many small-scale touring groups which flourished as part of the community theatre movement of the 1970s. That it died within a year of the Thatcher decade was due, ironically, not to direct political intervention but to a financial crisis within its funding body, East Midlands Arts, brought on by its attempt to centralize community projects and render them safely retrospective. Here, Baz Kershaw compares the practice of EMMA with its stated intentions, and looks in detail at one of its self-created plays, The Poacher, as an example of ‘performative contradiction’ – in this case, the making of a subversive political statement within the ostensibly safe ambience of the rural nostalgia industry. Baz Kershaw, who lectures in Theatre Studies at Lancaster University, wrote for the original Theatre Quarterly on the rural community arts group Medium Fair. He has also contributed to Performance and Theatre Papers, and was co-author with Tony Coult of a study of Welfare State, Engineers of the Imagination. His most recent work is The Politics of Performance: Radical Theatre as Cultural Intervention (Routledge, 1992).
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Kershaw, Baz. "Dramas of the Performative Society: Theatre at the End of its Tether." New Theatre Quarterly 17, no. 3 (August 2001): 203–11. http://dx.doi.org/10.1017/s0266464x0001472x.
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The emergence of new performance paradigms in the second half of the twentieth century is only now being recognized as a fresh phase in human history. The creation of the new discipline, or, as some would call it, the anti-discipline of performance studies in universities is just a small chapter in a ubiquitous story. Everywhere performance is becoming a key quality of endeavour, whether in science and technology, commerce and industry, government and civics, or humanities and the arts. We are experiencing the creation of what Baz Kershaw here calls the ‘performative society’ – a society in which the human is crucially constituted through performance. But in such a society, what happens to the traditional notions and practices of drama and theatre? In this inaugural lecture, Kershaw looks for signs and portents of the future of drama and theatre in the performative society, finds mostly dissolution and deep panic, and tentatively suggests the need for a radical turn that will embrace the promiscuity of performance. Baz Kershaw, currently Professor of Drama at the University of Bristol, trained and worked as a design engineer before reading English and Philosophy at Manchester University. He has had extensive experience as a director and writer in radical theatre, including productions at the Drury Lane Arts Lab and with the Devon-based group Medium Fair, where he founded the first reminiscence theatre company Fair Old Times. His latest book is The Radical in Performance (Routledge, 1999). More recently he wrote about the ecologies of performance in NTQ 62.
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Kershaw, Baz. "Building an Unstable Pyramid: the Fragmentation of Alternative Theatre." New Theatre Quarterly 9, no. 36 (November 1993): 341–56. http://dx.doi.org/10.1017/s0266464x00008241.
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In his earlier article, ‘Poaching in Thatcherland: a Case of Radical Community Theatre’, (NTQ34, May 1993), Baz Kershaw explored the work of the regional touring group EMMA during the 1970s, looking in particular at the quality of ‘performative contradiction’ which enabled it, for example, to make a subversive political statement within the ostensibly safe ambience of a play steeped in rural nostalgia. Here, he explores other paradoxes of that era of burgeoning alternative and community theatre activity in the years before Thatcher, assessing the role and the ‘hidden agenda’ of the funding bodies, and analyzing and contrasting the working methods, aims, and resources of two of their very different clients – the ‘national’ fringe company Joint Stock, and the small-scale ‘reminiscence theatre’ group, Fair Old Times. Although both groups were engaged in the ostensibly radical and oppositional theatre practice which eventually led to their closures, there was, notes Kershaw, an increasing tendency by the funding bodies to judge the work of the latter by the more amply endowed standards of the former. Baz Kershaw, who lectures in Theatre Studies at Lancaster University, wrote for the original Theatre Quarterly on the work of Fair Old Times's ‘parent’ company, Medium Fair (TQ30, 1978), and has put the present studies into a broader context in his most recent book, The Politics of Performance: Radical Theatre as Cultural Intervention (Routledge, 1992). He is co-author, with Tony Coult, of Engineers of the Imagination (Methuen, 1983), a study of Welfare State, and has also contributed to Performance and Theatre Papers.
6
Kershaw, Baz. "The Theatrical Biosphere and Ecologies of Performance." New Theatre Quarterly 16, no. 2 (May 2000): 122–30. http://dx.doi.org/10.1017/s0266464x00013634.
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In what would a postmodern theatrum mundi, or ‘theatre of the world’, consist? In an ironic inversion of the very concept, with the microcosm issuing a unilateral declaration of independence – or of incorporation? Or in a neo-neoplatonic recognition that it is but a cultural construct of an outer world that is itself culturally constructed? In the following article, Baz Kershaw makes connections between the high-imperial Victorian love of glasshouses, which at once created and constrained their ‘theatre of nature’, and the massive 'nineties ecological experiment of ‘Biosphere II’ – ‘a gigantic glass ark the size of an aircraft hangar situated in the Southern Arizona desert’, which embraces all the main types of terrain in the global eco-system. In the Biosphere's ambiguous position between deeply serious scientific experiment and commodified theme park, Kershaw sees an hermetically-sealed system analogous to much contemporary theatre – whose intrinsic opacity is often further blurred by a theorizing no less reductive than that of the obsessive Victorian taxonomists. He offers not answers, but ‘meditations’ on the problem of creating an ecologically meaningful theatre. Baz Kershaw, currently Professor of Drama at the University of Bristol, originally trained and worked as a design engineer. He has had extensive experience as a director and writer in radical theatre, including productions at the Drury Lane Arts Lab and as co-director of Medium Fair, the first mobile rural community arts group, and of the reminiscence theatre company Fair Old Times. He is the author of The Politics of Performance: Radical Theatre as Cultural Intervention (Routledge, 1992) and The Radical in Performance: Between Brecht and Baudrillard (Routledge, 1999), and co-author of Engineers of the Imagination: the Welfare State Handbook (Methuen, 1990).
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Boon, Richard. "A Review ofThe Radical in Performance: Between Brecht and Baudrillardby Baz Kershaw." Contemporary Theatre Review 11, no. 2 (January 2001): 93–95. http://dx.doi.org/10.1080/10486800108568628.
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Kershaw, Bez. "Performance Studies and Po-chang’s Ox: Steps to a Paradoxology of Performance." New Theatre Quarterly 22, no. 1 (February 2006): 30–53. http://dx.doi.org/10.1017/s0266464x06000285.
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Invited by NTQ to review two recent books on performance studies – Jon McKenzie's Perform or Else: from Discipline to Performance and Richard Schechners's Performance Studies: an Introduction – Baz Kershaw found himself in a Catch-22 situation: given the vast territories they claimed for the discipline, how could a short survey do them justice? Yet more perplexing, how might a close analysis of their diffusive visions proceed, even in a longer essay? Struck by their common use of air disasters as denouements and their respective publication dates just six months before and after 9/11, he uses these and other homologies as a route into exploring the ethical and political implications for the new century of the arguments employed by the two texts. Drawing on the philosophical innovation of ‘dialetheism’, which deploys paradox to stretch the bounds of classical logic, he also considers the books' differences and suggests a kind of de-territorialized reconciliation through his notion of a ‘paradoxology’ of performance. He offers the resulting search for depth in surfaces, beginnings in endings, presence in absences, and truth in contradictions as an exemplification of philosopher Po-chang's aphorism about the quest for Buddha's nature: ‘It’s much like riding an ox in search of the ox.’ Baz Kershaw holds the Chair of Drama at Bristol University. His many publications include Engineers of the Imagination (Methuen, 1990), The Politics of Performance (Routledge, 1992), and The Radical in Performance (Routledge, 1999), and he is editor of The Cambridge History of British Theatre: Volume 3, Since 1895 (CUP, 2005). He is also Director of the AHRC-funded major research project PARIP – Practice as Research in Performance.
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Freeman, Sara. "Towards a Genealogy and Taxonomy of British Alternative Theatre." New Theatre Quarterly 22, no. 4 (October 20, 2006): 364–78. http://dx.doi.org/10.1017/s0266464x06000558.
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In the third volume of The Cambridge History of British Theatre (2004), editor Baz Kershaw initiates his chapter ‘Alternative Theatres, 1946–2000’ with a short discussion of ‘contesting terms’ used by commentators to describe theatre outside the mainstream in the second half of the twentieth century. Kershaw's discussion serves as a necessary preface to ground his use of multiple historiographical strategies to address the subject with necessary brevity. But teasing out the terminology used to describe alternative theatre remains a fascinatingly complex task, constitutive of precisely the issues at stake in the variant historiographical approaches to the post-war period. Using a genealogical approach inspired by Foucault, and drawing on first-person interviews with artists who worked with alternative theatre companies such as Joint Stock/Out of Joint, Gay Sweatshop, and Women's Theatre Group/The Sphinx across the closing decades of the twentieth century, Sara Freeman analyzes the branching relationships of these terms, arguing the need to develop useful rather than funerary or bewildered historiographical approaches to the 1980s and 1990s. Sara Freeman is Assistant Professor of Theatre at Illinois Wesleyan University. Her research focuses on contemporary women playwrights and British alternative theatre, and she has published articles and reviews in Theatre Survey, Modern Drama, Comparative Drama, New England Theatre Journal, and Theatre Journal. Work on this article was supported by an Artistic and Scholarly Development Grant from Illinois Wesleyan University.
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Cochrane, Claire. "Theatre and Urban Space: the Case of Birmingham Rep." New Theatre Quarterly 16, no. 2 (May 2000): 137–47. http://dx.doi.org/10.1017/s0266464x00013658.
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In NTQ61, Deborah Saivetz described the attempts over the past decade of the Italian director Pino DiBuduo to create ‘invisible cities’ – performances intended to restore the relationship between urban spaces and their inhabitants, through exploring the actual and spiritual histories of both. Earlier in the present issue, Baz Kershaw suggests some broader analogies between the theatre and its macrocosmic environment. Here, Claire Cochrane, who teaches at University College, Worcester, narrows the focus to a particular British city and the role over time of a specific theatre in relation to its urban setting. Her subject is the history and development of the Birmingham Repertory Theatre in relation to the city – of which its founder, Barry Jackson, was a lifelong resident – as an outcome of the city's growth in the wake of the Industrial Revolution, which made it distinctive in terms of its manufactures, the workers and entrepreneurs who produced them, and a civic consciousness that was disputed yet also shared. She traces, too, the transition between old and new theatre buildings and spaces which continued to reflect shifting class and cultural relationships as the city, its politicians, and its planners adapted to the second half of the twentieth century.
Dissertations / Theses on the topic "Baz Kershaw"
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McEwen, Celina. "Investing in Play: Expectations, Dependencies and Power in Australian Practices of Community Cultural Development." Thesis, The University of Sydney, 2008. http://hdl.handle.net/2123/3680.
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This thesis is an enquiry into the social and political role, in Australia, of practices that have attracted such labels as ‘community arts’, ‘cultural animation’, ‘cultural action’, or ‘community cultural development’ (CCD). It is often argued that such practices offer an effective means to bring about social and political change for people and communities who participate in them. Looking specifically at theatre-based approaches to CCD in Australia, this thesis examines an alternative hypothesis, namely that such projects and programs can contribute to the continued marginalisation of those who take part in them. Using a combination of Pierre Bourdieu’s theoretical approach to field analysis, Don Handelman’s analytical framework of special events and Baz Kershaw’s theory of potential efficacy, I carry out an ethnographic and performance-based analysis of a particular project called The Longest Night (TLN), which was devised in collaboration with young people from The Parks, a cluster of suburbs north west of Adelaide, South Australia, and in collaboration between Urban Theatre Projects, a small Sydney-based theatre company with a reputation for doing socially and politically challenging work, young people living in The Parks and local partner organisations, for the 2002 Adelaide Festival. I find that in some instances participation in CCD projects and programs is an enabling factor, creating change opportunities in cultural, economic and/or political spheres in the lives of those who take part, whilst at other times it is a constraining factor. Participation in CCD projects and programs creates possibilities because the practices are potentially subversive and foster elements of learning and change in some participants. It also creates limitations because CCD practitioners operate within a subfield of social and cultural practices where the mechanisms and structures in place, indirectly, tend to help reproduce legitimised social and cultural values and norms.
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McEwen, Celina. "Investing in Play: Expectations, Dependencies and Power in Australian Practices of Community Cultural Development." University of Sydney. Department of Performance Studies, 2008. http://hdl.handle.net/2123/3680.
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Doctor of Philosophy (PhD)This thesis is an enquiry into the social and political role, in Australia, of practices that have attracted such labels as ‘community arts’, ‘cultural animation’, ‘cultural action’, or ‘community cultural development’ (CCD). It is often argued that such practices offer an effective means to bring about social and political change for people and communities who participate in them. Looking specifically at theatre-based approaches to CCD in Australia, this thesis examines an alternative hypothesis, namely that such projects and programs can contribute to the continued marginalisation of those who take part in them. Using a combination of Pierre Bourdieu’s theoretical approach to field analysis, Don Handelman’s analytical framework of special events and Baz Kershaw’s theory of potential efficacy, I carry out an ethnographic and performance-based analysis of a particular project called The Longest Night (TLN), which was devised in collaboration with young people from The Parks, a cluster of suburbs north west of Adelaide, South Australia, and in collaboration between Urban Theatre Projects, a small Sydney-based theatre company with a reputation for doing socially and politically challenging work, young people living in The Parks and local partner organisations, for the 2002 Adelaide Festival. I find that in some instances participation in CCD projects and programs is an enabling factor, creating change opportunities in cultural, economic and/or political spheres in the lives of those who take part, whilst at other times it is a constraining factor. Participation in CCD projects and programs creates possibilities because the practices are potentially subversive and foster elements of learning and change in some participants. It also creates limitations because CCD practitioners operate within a subfield of social and cultural practices where the mechanisms and structures in place, indirectly, tend to help reproduce legitimised social and cultural values and norms.