We’re launching a programme of 10 unmissable workshops to help you develop your skills to work in the creative and cultural industries. The creative skills project formerly known as DIY HIGH SCHOOL is back for 2019 as DIY LIFE SKILLS.
DIY LIFE SKILLS gives our Queen Mary University of London students and our community vital extra practical skills for working in the creative and cultural industries. These include making videos, photography, tax, CVs, public speaking, social media for work and WordPress/blogging.
DIY LIFE SKILLS is supported by Humanities and Social Sciences at Queen Mary University of London. The workshops are free for our students and our local community.
15 May 2019 – Beginners / 17 May 2019 – Intermediate
Work with professional videographers to plan, film and edit a short film in one day with pros from Signature Pictures. The intermediate workshop will look at more advanced editing techniques and film production.
Social media = jobs & opportunities. Ignore it at your cost. This session will cover moving away from using social for well, ‘social’ purposes and look to how these channels can be used to network and make important career connections.
Please note bookings are provisional and we will aim to ask you to reconfirm your attendance. Please only book for events you can attend. DIY LIFE SKILLS Events could be subject to change or cancellation.
Our undergraduate Outstanding Potential Award scheme is now closed. Congratulations if you were given the Outstanding Potential Award or other offer with us.
Don’t worry if not or you are worried about your grades we would love to hear from you on results day if you have any questions about your offer.
Our Offer holder Days have now all taken place for 2019 entry.
Missed an Offer Holder Day?
Campus Tours: To get a general tour of the Mile End campus. Book online. Let us know when you’re coming via email: firstname.lastname@example.org and we’ll try to arrange someone from English and Drama to talk to you.
On Wednesday the 27th of March I was part of a
team of nine London-based drama practitioners and students armed with silent
disco headphones, laminated sheets of paper, paper plates, colouring pens and
some ipods who found themselves in an office conference room in Bristol with an
audience of around thirty office workers.
The team represented The Verbatim Formula (TVF), a collaborative participatory arts project founded by Maggie Inchley (Queen Mary University’s Senior Lecturer in Performance) and Sylvan Baker (lecturer at Royal Central School of Speech and Drama). Aiming to ‘make listening visible’, TVF specialises in sharing the stories of young people in (social) care and care leavers, including those in Higher Education.
TVF utilise the method of Headphone Verbatim in which to carry the life experiences and testimonies of young care-experienced people to a variety of audiences, most notably to the authorities that have the power to shape the care and education systems.
On this occasion, TVF were visiting the Office for Students (OfS), a newly formed body responsible for the regulation of Education across England. To put it simply, they are the Ofsted of Universities.
Headphone Verbatim requires a performer to listen to an audio recording of a testimony through headphones while saying what they hear out loud as accurately as possible. It’s a technique that requires focused attention but for those listening to the performer, the experience is very impactful; the performer becomes a vessel through which the idiosyncrasies of the original speaker add an authenticity to the speech.
The technique allows the voice of the care experienced to retain its potency and personality without their physical presence making them a fetish-ised object for the audience. When utilised in business and corporate contexts, this technique can serve to transform young people from numbers into people, hopefully reigniting the urgency and intensity of TVF’s ultimate aim; to improve the lives of the care-experienced.
The event took place during the office workers’ lunch break.
In the space of one hour the TVF team introduced themselves by explaining what
belonging means to them (an important theme from university related
testimonies), encouraged the workers to reflect on their own experiences of
belonging and not belonging (which they wrote down on paper plates) , explained
the aims of TVF, performed over ten testimonies using Headphone Verbatim, and
then allowed the office participants to join the facilitators in a Verbatim
Chorus in which they too got to attempt Headphone Verbatim.
As a third year student it’s great to have been part of this process. Getting to be part of the testimony collection process and to perform with TVF’s amazing team has taught me so much. I’ve wanted to experience the powerful potential of participatory theatre since I started my degree but when I first informed Maggie that I was interested in getting involved with her project I didn’t imagine getting stuck in to something so deeply important so quickly. If this project has taught me anything it’s that: a) Great experiences are only a chat with your lecturer away and b) well intentioned projects like TVF really do have the power to affect change. The expressions of concentration and empathy on the faces of our audience proved just how powerful listening can be.
An interactive performance for 5 people at a time.
Audience-participants are invited to join Daniel and Frauke in a series of
awkwardly intimate and strange actions, rituals, dances, games, and other
dysfunctional activities brought back in time from a post-neurodivergent
revolution family fun-time future.
Daniel is dyspraxic and is too slow. Frauke has ADHD
and is too quick. They are married and have kids. This interactive performance
is rooted in their experiences of their bodies as neurodivergent lovers,
parents, and weirdo performance makers. It is a space in which clunky
experiences of bodies and actions can be discussed, explored and ultimately
celebrated through ritualisation and play.
Frauke Requardt and Daniel Oliver The Rong Table –6 Apr
Frauke and Daniel invite audiences to explore these themes
through conversation events that use Daniel’s ‘Rong Table‘ set-up. ‘Rong Tables’ are events
for exploring and discussing the key themes of the performance. They are a
development of Lois Weaver’s ‘Long Tables’, in which
the audiences are invited to take part in a discussion by leaving their
audience seats, and sitting at a large table. Daniel has been regularly using
this format to discuss neurodiversity and art over the past three years. .
Recently he has been experimenting with adding different elements and bending
the rules in order to create a space that is more accessible, diverse and
engaging for a broad range of neurodivergent audiences. This means the table is
no longer the only place to talk, getting rid of the audience/participant
divide, allowing for smaller, more discreet conversations to happen around the
space, and for more ways of expressing thoughts to be offered.
For Dadderrs, the Rong Table is something modelled on a chaotic family dinner time rather than a more formal grown-up dinner party. Alongside den-building, and playing with dressing-up, there would also be the opportunity to make objects out of Lego – a prop used in Dadderrs – to explore and express ideas related to the themes of the performance.
Lois Weaver The Situation Room – 6 Apr
The Situation Room is a format for public
discussion created by Lois Weaver that combines theatricality and informal
conversation and encourages us to think about the interdependencies of anxiety
and desire. It’s inspired by the War Room in Stanley Kubrick’s 1964
film, Dr. Strangelove, or, How I Learnt To Stop Worrying And
Love The Bomb where a group of people
sit around a circle of tables and hold a discussion that is moderated by a ‘President’ and monitored by ‘General’ who reminds us we are ‘running
out of time.’
In The Situation Room, members of the audience will be invited to form a Council determined by loosely held affinities: a Council of Elders, an Intergenerational Council, a Council of Queers or Intersectional Feminists; a Council of Agnostics or A-politicals. They are invited to the table to share what is worrying them, from the personal to the geopolitical; to discuss, listen, and then reach a consensus on a single topic of conversation- the ‘Situation’, and finally to consider their desires, ambitions and fantasies as playful and creative solutions to the issue at hand.
Martin O’Brien – Who Cries Wins
This discussion event questions if there is an increase in artists
identifying closely, and leading with, their own histories of trauma and/or
painful autobiography. To what extent is this true, and if true, what may have
As festivals, live platforms and opportunities begin to focus on the
support of these current questions and seeking out artists’ trauma, we pose the
question now: what is the tense line between raising visibility and
exploitation. Additionally, another consideration: Is there such a thing as
This is a public discussion hosted and facilitated by performance artist and scholar Martin O’Brien, with contributions from artists in the Care & Destruction programme.
Queen Mary Theatre Company are looking for new actors and backstage crew for this year’s Edinburgh Fringe trip! The four pieces of new writing cover a wide expanse of contemporary topics, from the first humans on Mars and Artificial Intelligence, to girls in rock songs and … kidnapping? To find out more and how you can audition/get involved, head to our website.
unDisturbed 5-6 April | Royal Albert Hall, South Kensington
BA (Hons) Drama student and Royal Albert Hall Young Producer Francesca Kamil is helping to present new unDISTURBED events series.
Francesca says: ‘Saturday is a celebration of resisting with a collective of fierce Drag Queens with down syndrome, female drum and bass beatbox power from Kimmy Beatbox, Steamdown who jump off the sonic springboard of Afrofuturism, grime and future soul, all fused together with the fearless spontaneity of jazz AMONG OTHER SURPRISES AND DELIGHTS.’
Queer-feminist Ecocriticism in Live Art & Visual Cultures is a one-day international conference that brings together artists, theorists and activists to cover topics ranging from non-human ethics to ecosexuality.
Image credit: Nadja Verena Marcin, Ophelia (Still 3), 2017. Photo: Marque DeWinter. Courtesy the artist & 532 Gallery Thomas Jaeckel.
If you’re interested in making theatre, social activism and exploring radical new ideas then this taster is for you. You’ll experience both practical and theoretical workshops, led by our academics and hear about the career prospects of Queen Mary Drama graduates.
Identify is a postgraduate study group that will meet regularly to build a research cohort within English and Drama. The group identify as having Specific Learning Difficulties (SpLD), including dyslexia, dyspraxia and other neurodivergent ways of being that impact our study patterns, academic activities, and research outputs.
Their second meeting will be held on Friday 3rd May from 4-6pm in room 2.18, Arts Two. All are welcome. If anyone requires directions or wants to get in touch for more information, they’re welcome to email John Dunn on email@example.com.
Nadia Atia (English) and Ruby Tuke (English) both won Education Awards for Postgraduate Teaching Champion and Assessment and Feedback Champion respectively. Many other staff members were nominated and shortlisted across multiple categories. Find out more about some of the shortlisted candidates here. Read Nadia’s latest published piece Death and Mourning in Contemporary Iraqi Texts.
Maggie Inchley and the Verbatim Formula team including Clarice Montero (Drama student) have presented to government twice recently on real experiences of the care system to the Minister for Children and the testimonies of current students to the Office for Students.
Network: The QMUL Centre for the Creative and Cultural Economy Get a spring update from the creative industries hub here.
Martin O’Brien (Drama) is featured on a BBC Sounds special called Ouch: Disability Talk: The Artist Who Believes He’s A Zombie Listen here
Nadia Valman (English)’s Brick Lane Traces event projected the history of the East London hotspot at key sites. Pictured above: Roshanara, thought to be the first Bengali woman in Brick Lane in the 1950s, projected on the now derelict Seven Stars pub in Brick Lane, where she liked to hang out. Photograph by Raju Vaidyanathan. From the collaboration with projection artist Karen Crosby.
Lois Weaver (Drama) wins Lois wins The Hawking Award for Developed Understanding of Public Engagement.
We caught up with Professor Morag Shiach to talk about the latest from Network: The QMUL Centre for the Creative and Cultural Economy, which is based in the School of English and Drama. The centre has been involved in a number of international collaborations over recent weeks.
In February it participated in a workshop with researchers at the Laboratory of Excellence for the Creative and Cultural Economy in Paris, exploring how researchers from QM might work with them in the future. Colleagues from English and Drama, Business and Management, and Law shared their research on creative clusters, digital innovation, and intellectual property.
Last week Network welcomed to QM a delegation of policymakers and creative economy practitioners from Egypt and Indonesia, who were part of the British Council project Developing Inclusive and Creative Economies (DICE).
The workshop presented QM’s work on arts and social transformation, on social inclusion in the creative economy, and on digital platforms for craft. Finally, Network has just been invited to undertake some consultancy for the British Council focussed on the development of effective methods of assessment and evaluation for creative hubs in Thailand. This will work particularly with ‘hyperlocal’ creative hubs, co-creating effective and robust approaches to understanding what works for them.
This tower of imperialism has let in lil’ old me and others in, and over the last 6 months we’ve set up some events which are really different to their usual programming. These events are called unDISTURBED and taste like fine wine.
The events are all things on Stillness (Fri 5th April) and all things Resistance (Sat 6th April), with a sexy and career helping panel on working with resistance called Making Waves which is only £5. The panel includes a really special drama facilitator working on the front lines in prisons, as well as Gal-dem and Azeema magazine founders and a music therapist.
The Friday has an earth ritual in one room from performance collective IntimateAnimals, with ambient music in the other space. Saturday is a celebration of resisting with a collective of fierce Drag Queens with down syndrome, female drum and bass beatbox power from Kimmy Beatbox, Steamdown who jump off the sonic springboard of Afrofuturism, grime and future soul, all fused together with the fearless spontaneity of jazz AMONG OTHER SURPRISES AND DELIGHTS.
Come! It’ll be a lot of fun, buy tickets now and enjoy redefining this space.
(Royal Albert Hall is beautiful and if you’re not from London and have never been it is a MUST-SEE)
How and why are Shakespeare’s plays performed, filmed, read and taught from China to Chile, from Singapore to South Africa? What makes Shakespeare a “global” force? Shakespeare’s plays display the vast panoply of human desires and emotions: from passionate love to bewildering fear, from unswerving loyalty to basest envy, from the noblest instances of self-sacrifice to the desire to inflict unspeakable pain. His depictions of these emotions are often shocking in their vividness, yet always recognisable as fundamental facets of human experience. This course will look at Shakespeare’s afterlives in different parts of the world, and include hands-on workshops in which we will try out different possible ways of interpreting “global” plays like Antony and Cleopatra.
This module draws on London’s rich theatre and performance history, and the wide-ranging opportunities the city offers to engage with historical and contemporary theatre and performance. It explores how historical, social, cultural and architectural contexts produce meaning through theatre and performance. It introduces you to a range of ways of analysing plays and performances in relation to the conditions in which they were created. We will cover a range of historical periods and genres including, for example, Shakespeare and his contemporaries, eighteenth and nineteenth-century theatre, contemporary theatre, and performance beyond the literary play text (e.g. Live Art and performance art, club and pub performance, performance in galleries, sound walks). The module includes regular field trips to performances and other relevant locations.
may be dividing our country but next week ArtsOne schools are uniting for a
STUDENT STRESS BUSTER FAIR.
All students are welcome but particularly third years.
Tuesday 26 March 2019 – ArtsOne Foyer – 11am-2pm – Free, no booking required
School of Politics and International Relations, School of English and Drama and the School of Languages, Linguistics and Film will be hosting an Arts One Student Stress Buster fair on Tuesday, 26th March from 11am-2pm in the foyer of Arts One.
Come and meet staff and get information on QMUL support services, mental and emotional health, careers counselling and well being activities.
Talk to staff about concerns you may have about exams or dissertations and give us your views and ideas on how QMUL can improve support for students.
Freebies include fruit/donuts/anti-stress balls and mini plants.
No need to
book, just pop by our information stand.
“The book aims to open up to a new generation of students, researchers and practitioners the techniques of my dear friend and teacher Augusto Boal. Boal, the legendary pioneer of the Theatre of the Oppressed movement, created over a prolific lifetime the revolutionary participatory techniques of Forum and Image Theatre. Through these activities, communities worldwide have been empowered to explore the issues they face through the language of radical participatory performance.
This book tracks my own thirty years on that life-changing journey,
through practical examples, conversations and hands-on ‘recipes’, distilling
what I have learned through practice, for the reader to use and in turn, to
adapt. Boal more than most contemporary practitioners has been
exhaustively theorized but the practical elements have been missing.
From the first discussions with my publishers – Bloomsbury – I have
sought to use practical examples to bring the underlying principles of the work
to life as vividly and honestly as possible.
I use my own stories and the adaptations of techniques I have co-created
with groups across three decades and five continents to do this. In the second
half of the book I invite the inspiring people I have been privileged to work
with to share back with me, always grounding our discussions (and
disagreements!) in lived experience.
I hope this book finds a place with you and fulfills its intention to do a service to the Theatre of the Oppressed and especially – if you are a teacher as I am – opens up to new theatre-makers the work of one of the greatest teachers I have ever known.”