Artist Ruth Ewan invited Strood residents to share their skills and knowledge of the town’s heritage, hidden stories, myths past and present, to be weaved into a subversive pantomime for the town. This performance programme includes the full script, invited writings and local archive material.

Performed on 22nd December 2015. 

An overview of many of the key directors working in European theatre over the past fifty years, situated lucidly in its artistic, cultural and political context. The resulting study is a detailed guide to the generation of directors whose careers were forged and tempered in the changing Europe of the 1980s and 1990s.

From the age of Aristotle to the age of AIDS, writers, thinkers, performers and activists have wresteled with what “performance” is all about. At the same moment, “performativity”–a new concept in language theory–has become a ubiquitous term in literary studies. This volume grapples with the nature of these two key terms whose traces can be found everywhere: in the theatre, in the streets, in philosophy, in questions of race and gender, and in the sentences we speak.

A new book about “do it yourself” performance, with contributions made by over 30 arts practitioners and collectives. It’s a sequel of sorts – or rather; a continuation – to a recent text that platformed a growing community of voices in theatre, art, dance and performance making.

What is the quality of participation in contemporary art and performance? Fair Play: Art, Performance and Neoliberalism explores this question through the work of important contemporary artists and organizations including Marcus Coates, Phil Collins, Jeremy Deller, Michael Landy, Grayson Perry, Rachel Whiteread, Lone Twin, Punchdrunk, Tate Modern and the National Theatre.

This book presents a theory of audience participation in the theatre, based on the importance of the moment of invitation and how an event changes character when such an invitation is made.

A 150 page reader for students and other particularly interested audience members stuffed full of texts, scripts, interviews and concept documents.

This volume examines the ways gay men have used theatre and performance to intervene in the AIDS crisis. It discusses dramatic texts and public performances–from cabarets and candlelight vigils to full-scale Broadway productions that have shaped, and been shaped by, the history of AIDS in national, regional, and local contexts.

Documentation from GETINTHEBACKOFTHEVAN’s DIY 10 project, which explored exertion, endurance, cliché and the epic using the musical Calamity Jane.

The project took place at Cambridge Junction. Part of LADA’s DIY.

4:38.

Part game, part improvisation, this unique 24-hour live experience pits alternating pairs of performers against one another as they test their opponents with an avalanche of questions.

Recording on a hard drive. 

Recorded 12-13 April 2013 at the Barbican; part of SPILL.

In a safe box.