The technique in Microcosm: Michael Chekhov’s work on the Fishing Scene

This article focuses on a detailed analysis of Chekhov's training schema as he developed it as part of his studio activity at Dartington using the scene study of the Fishers' scene (1936–37), written by Paul Rogers. Described by Deirdre du Prey as the scene designed by Chekhov ‘to provide training and experience for the student-actors, directors, playwrights, musicians, technicians, designers etc.’, it is a training regime in microcosm and one which du Prey singled out as a teaching tool when she later trained actors in the Chekhov technique in the US. There is an entire box of unpublished materials dedicated to this scene in the Devon Records archive, including the actors' own visualised performance scores and art works associated with Goethe's colour psychology. These diverse sources are brought together here for the first time and related to Chekhov's later publications. This paper addresses the themes of interdisciplinarity and of Chekhov, training and the archive, paying close attention to the archival records by reconstructing on paper what Deirdre Hurst du Prey later called ‘a truly classic example of the use of Chekhov's method’ in Laurence Senelick's book Wandering Stars (1992). Its conclusion moves to a wider consideration of progressive education in the inter-war period and positions Fishers' as a key example of alternative pedagogy, alongside those of Black Mountain and Cornish colleges

The spatialisation of the digital games industry: Lessons from Ireland

This article draws on the concept of spatialisation to better understand the development of a digital games industry on the periphery of mainland Europe, on the island of Ireland. Positioning digital games within the cultural and creative industries, we explore how global networks of production in this industry get territorialized, negotiated and shaped by local factors. Drawing upon an industry-wide survey in Ireland we found that employment has grown by 400% in the last decade but that this rate of employment growth and its concentration in large urban areas masks significant ruptures and shifts which more detailed spatial, occupational and social analysis reveals: in particular, how the state, multinational game companies, and physical and human capital interact to shape an industry which is strong in middleware, localisation and support but weak in content development. An understanding of global digital games production networks and of occupational patterns in this industry is, we believe, crucial for national and European cultural policies for the digital games industry and for the cultural and creative industries more generally

"GLOBAL 'LIFEWORLDS' VERSUS LOCAL 'SYSTEMWORLDS': HOW FLYING WINEMAKERS PRODUCE GLOBAL WINES IN INTERCONNECTED LOCALES"

How do culture and the economy relate in a spatial context? Recent work on the economy-culture relationship has developed the idea of 'articulation'. Rather than conceiving culture as a separate factor, as an add-on to economic analysis, culture and the economy represent interlaced dimensions in economic processes. The economy represents a cultural process, but culture, in turn, is influenced by the evolution of economic practices and concepts, including the advances of economic science. This paper will focus on how this articulated interpretation of the culture-economy relationship bears on our conceptualisation of the territorial dimension of the economy. The starting point of the discussion is the prevalent emphasis on the region or 'locale' as a core site of economic development, set against the background of pervasive globalisation. Responding to recent discussions on Habermas's conceptual pair of 'systemworld'-'lifeworld', an 'articulated' perspective on space is presented. One of the key messages is that an analysis of economic processes in space should develop a much richer interpretation of the market, which should be perceived as a culturally and territorially-rooted institution. Such an interpretation may be inspired by the notion of 'organised markets', as well as by the conceptualisation of the economy and economics suggested by actor-network thinking. Copyright (c) 2004 by the Royal Dutch Geographical Society KNAG.