T. S. Eliot\u27s theory of dramatic communication

Thomas Stearns Eliot wrote only seven dramatic works, which include the unfinished fragments Sweeny Agonistes and the pageant play, The Rock. These works show the ways Eliot put into practice his own theories about the relationship of drama and verse. Although their relative merits are the subject of considerable critical controversy, each play affords a rich theatrical experience. This study attempts to assess the real value of Eliot’s work and seeks to explore the relationship between his avowed intentions to communicate in the theatre, and the finished product of his labors. Necessarily, we must examine his views on art, religion, drama, and verse because all of these are part of the creative process

Power working through/on bodies in the United Kingdom

This statement started its life as part of the State of the Profession panel at the joint American Society for Theatre Research / Congress on Research in Dance conference in Seattle [November 2010]. I was asked to respond to the question of “how power has worked on/through/with bodies in the fields of dance and theatre studies, and in the academy at large.” I decided to speak about the serious crisis facing higher education in light of the economic recession, and its particular challenges to the academy and our field, using my present context in the United Kingdom, where I have lived since 2006, as a case study

Power working through/on bodies in the UK

This statement started its life as part of the State of the Profession panel at the joint ASTR/CORD conference in Seattle (November 2010). I was asked to respond to the question of “how power has worked on/through/with bodies in the fields of dance and theatre studies, and in the academy at large.” I decided to speak about the serious crisis facing higher education in light of the economic recession and its particular challenges to the academy and our field, using my present context in the UK, where I have lived since 2006, as a case study