For generations race has defined interpretations of Othello. Important though this tradition has been in addressing issues like civil rights and apartheid, Jerry Brotton will argue in this talk that current preoccupations with race obscure how Elizabethan England’s religious and imperial relations with the Islamic world shaped the dramatic action of plays like Othello.
In close readings of key passages (Othello’s ‘travel’s history’, the ‘Willow song’ scene and Othello’s last speech), Professor Brotton offers a new interpretation of the play that resonates with our current anxieties about religious extremism, immigration and cosmopolitanism.
“Where better to speak about Othello and its reflection of our current global predicament than at a place called the Globe? Such predicaments are now understood as much through debates about faith and belonging as race…”
Terms and conditions: Competition closes on Tuesday 7 March at 5pm GMT. The competition is open to anyone based in the UK. 3 winners will be selected to win a prize. There are 3 prizes available of:
1 x This Orient Isle paperback + 2 x tickets to A Wheeling and Extravagant Stranger: Othello, Elizabeth and Islam event with Jerry Brotton on Thursday 9 March.
2 runners up prizes of 2 x tickets to Jerry Brotton’s event (detailed above).
“New Diorama Theatre has just launched the search for the best six graduating, or recently graduated, companies from across the UK to take part on our artist development programme 2017.
Companies taking part showcase their work at New Diorama, receiving 100% of their box office and a series of workshops lead by industry professionals on subjects such as Marketing, Access, Finances, Charity status, Fundraising and producing amongst others. They also receive the support of New Diorama Theatre’s staff team over the course of the whole year, and beyond!
Companies have gone on from the course to be part of the Emerging Companies programme, which has featured companies such as LOST WATCH, BREACH THEATRE and SMOKE AND OAKUM, who are now both regular features on the New Diorama Theatre season programme.
We are looking for the next really exciting generation of theatre companies, and your course was highlighted to us as somewhere encouraging the making of unique, exciting theatre. If you know anyone who might be interested in taking part on our Graduate Emerging Companies programme, please send them this link, or ask them to get in touch with me directly and I can advise them on how to apply. https://goo.gl/rZaKEc
“Freshly Scratched is an open platform for emerging artists to try out new ideas, in an early stage of development, in front of an audience.
We are interested in artists that push boundaries, who want to reach out to people who would not otherwise go to art centres, and we are interested in work that looks and feels new. Each idea can last anything up to ten minutes, and we usually programme six or seven pieces alongside each other, creating an evening of rough and ready flashes of inspiration.
Want to get involved? Visit our website for more information on how to apply.”
Calls for Papers & Contributions
Literary London Conference 2017 – Call for Papers | Deadline: Fri 17 Mar
Literary London Society is looking for papers around the theme of: ‘Fantastic London: Dream, Speculation and Nightmare’.
PLANES | Tue 31 Jan-Sat 4 Feb | The Yard Theatre, Hackney Wick | £15/£12 (conc)
Tell us about your new work PLANES? How did it come about?
PLANES is a “live tuning” into missing things. By that I mean it’s a live work for theatre that explores notions of remembering and processing difficult experiences, with a live accompanying score by the poet and composer Timothy Thornton. In this case, that difficulty is the suicides of people close to me. Mental Health is in crisis and more and more people seem to be suffering as services are slashed and the world becomes crueler. I suppose, as someone trying to survive, the work emerged to try and harness the truth of both what grief is and how we move forwards—but it’s a tough one! I did a couple of scratch previews of that work, with the help of Arts Council England and Battersea Arts Centre, and then The Yard invited me to present the work as part of their NOW 17 festival of new performance. So I was really chuffed about that.
Who or what inspires you to make theatre work?
Anything and everyone really. I try to make work that’s honest and not too obscured by style and posturing, although inevitably when you “make” something it always runs the risk of being perceived as such. I guess that’s the magic of any kind of art making or creativity—the multitude of ways it can be perceived. I’m not here to moderate or manipulate anyone’s feelings, although I am trying to create a world where people find some sort of connection. I’m hugely inspired by the European avant-garde and the New York experimental theatre of the 70s and 80s. The Wooster Group particularly are a huge inspiration, as is the writer and filmmaker Derek Jarman. I guess I want to make work that documents the experience of being alive, here and now, without too much thought.
What was studying English Studies at Queen Mary like? Do you have any favourite memories or tutors?
Fantastic. I have very warm memories there. The English Department is second to none: great teaching, excellent resources and the chance to really engage with literary theory—which has influenced my creative practice hugely. My favourite memory is meeting Matthew, who studied on the MA with me. He was a wonderful friend and support throughout the course, and introduced me to lots of new left-wing and radical revolutionary thought. He was a wonderful person: sensitive, vibrant and hugely caring. Sadly, Matthew took his own life in October last year. I miss him hugely. This show is partly dedicated to him.