Galatea 101 #2: Nadia Nadarajah and Brian Duffy tell us about performing Diana and directing the show

Nadia Nadarajah and Brian Duffy tell us about their experiences working on the play Galatea, including translations into British Sign Language, exploring the character of the goddess Diana, and using physical communication and visual vernacular. The work forms part of Emma Frankland's production and comes out of a residency at 101 Outdoor Creation Space in … Continue reading Galatea 101 #2: Nadia Nadarajah and Brian Duffy tell us about performing Diana and directing the show

Galatea 101 #1: Emma Frankland and Andy Kesson

This week and next, Galatea is back on its feet once more! Now heading towards a production in collaboration with Wildworks, director and theatremaker Emma Frankland has gathered theatremakers at the 101 Outdoor Creation Space (made possible thanks to their seed funding). In this A Bit Lit feature video, the first of a series of … Continue reading Galatea 101 #1: Emma Frankland and Andy Kesson

Petruchio’s social status: guest post from Hailey Bachrach

A guest post from Hailey Bachrach's website, Dramatis Personae. I don’t like The Taming of the Shrew, and it’s one of a handful of plays I’ve been avoiding having to write about. But last week, the University of Kent’s Middling Culture Project released a fun Social Status Calculator for determining (as the name suggests) the social status of 16th … Continue reading Petruchio’s social status: guest post from Hailey Bachrach

Lost properties and where to find them: comfit hailstones

What are “lost” theatrical properties? What evidence exists for them? This post draws on my research into the impermanent materials of early modern performance to consider the theatrical life of early modern sweets.  In January 1573, preparations at Hampton Court for welcoming the new year with the anonymously writtenMasque of Janus were stalled by the weather. … Continue reading Lost properties and where to find them: comfit hailstones