Louise Elizabeth Carter

The symbolic entails a more mature engagement with reality and a dialogue open to change and development.

Fortier: 2002, 91

My primary interests… Social Engagement Justice and Equality Education Original Storytelling and Devising Postmodernism and Subversion Diversity, Inclusion and Respectful Representation Cultivation and Encouragement Community and Partnerships Opportunity Learning!

Specific areas of exploration…

Anxiety and mental health LGBT Gender & Equality Culture and Identity Politics Comedy

Early experiences of Drama and Performance

• Theatre, film and television.• Playing a part in a production in or

outside of school.• Acting• Drama games• Musicals• Costumes• Other works of performance such as

Singing and Dancing• An easy and more enjoyable lesson at

school• An interactive medium often used for

informative purposes.

A new kind of Drama…• Primary school Participatory

Theatre Workshop

• GCSE Drama

• Work experience with Pilot Theatre

My degree…Drama, Theatre and PerformanceUniversity of Roehampton

Study Abroad: TheaterUniversity of North Carolina: Wilmington

• Immersing myself in another culture• Taking on a bigger workload• Experiencing a different academic

setting.

• Academic Writing• Critical Analysis• Approaches to research• Time management• Team work• Leadership

Engaging Performance & Performing Failure

My most influential modules at Roehampton Helped me gain an understanding of theatre, live art and

performance art. Social commentary. Art as protest Breaking down conventions. Borrowing conventions to create something contemporary and

meaningful.

• Synergy• GETINTHEBACKOFTHEVAN• Forced Entertainment

Verbatim theatre

The Battersea Arts Centre

Theories and Representation in Drama, Theatre & Performance…

Feminism Activism Criticism

Identity Politics Gender Representation

Sexuality Ethnic Diversity Postmodernism

Culture Politics

Intersectionality

Lehmann on theatre as politics of perception:

•‘Its analysis, cannot settle for a de-politicization because its practice is objectively politically co-

determined.’

•‘to define it, we have to remember that the mode of perception in theatre cannot be separated from the

existence of theatre in a world of media which massively shapes all perception.’

(Lehmann: 2006, p185)

A focus on the Process Devising Development Workshops Scratch nights Making the audience part of the experience.

Subversive Performance Taking existing texts and creating something contemporary that

meets modern values (within reason) Going against what has been pre-conceived as ‘the norm’.

Playing with: Gender Ethnicity Sexuality

Example of Practice: Re-imagining Shakespeare and classic texts.

Influential Practitioners, Playwrights and Theorists

• Jill Dolan• Tim Etchells and Forced Entertainment

• Sarah Jane Bailes• Kate Bornstein• Andrew Stott• Larry Kramer

• Richard Shechner• Sue Ellen Case• Alison Bechdel

• Split Britches (Lois Weaver and Peggy Shaw)(to name a few)

Practice outside of Education Amateur musical theatre performance and community plays. Performance workshops, singing and dance lessons. Playwriting

Future practice… Creating and leading workshops. Working with artists, performers and creative individuals. More Playwriting and Devising performance. Continued research.

Future Prospects and ambitions. To form my own theatre company, and/or work in a theatre

establishment or company that embraces thee values that I identify with.

Work with communities and individuals that wish to create theatre, live art and performance that challenges ideals and embraces identity and culture.

To create and promote performance that encourages wellbeing, highlights problem areas of society and injustice and tells original stories.

Embrace conventional and unconventional theatre and sometimes a fusion of the two.

Current Projects Stand-up comedy classes and Dissertation ‘Humour offers a release from the frustrations of social justice, and a

nations appetite for comedy is formed in direct proportion to the degree of political oppression at work there.’ (Stott: 2005, p.98)

Work Placement with Mousetrap Theatre Projects Performance Projects in preparation for climbing Mount Kilimanjaro for Dig

Deep

Bibliography• Fortier, M. (2002) Theory/Theatre: An introduction. New York:

Routledge.• Lehmann, H.-T. (2006) Postdramatic Theatre. New York: Routledge.• Stott, A. (2014) Comedy. New York, NY: Taylor & Francis.