Two Episodes of Permission and Allowance: Oakland Summer 2016
Olive McKeon looks at two specific examples where permission is negotiated in real time, among physical bodies: one in a theatre space, and one in a street protest.
Two Episodes of Permission and Allowance: Oakland Summer 2016
Sex, Work, and Negative Affects in Participatory Performance
Owen G. Parry reflects intimately on the process of writing about his own one-to-one practice and the stakes of spaces of permissibility in performance.
Interventions 26.3 (September 2016)
In his Introduction to this issue of Interventions, Adam Alston reflects, post-Brexit, on the prescience of Simon Stephens as an especially European British writer.
Things That Always Tend to Happen in Simon Stephens’ Plays
Louise LePage uses video as critical medium, assembling a cast of scholars to respond to Billy Smart’s provocation regarding ‘things that always tend to happen in Simon Stephens’ plays’.
When Little is Said and Feminism is Done? Simon Stephens, the Critical Blogosphere and Modern Misogyny
Melissa Poll uses this online forum to argue that many criticisms of Stephens’ Three Kingdoms, including the main articles in this special issue, avoid grappling with its ‘modern misogyny’.
Harper Regan by Simon Stephens: through a Greek lens
Reflecting on her staging of Stephens’ Harper Regan in the United States, Gaye Taylor Upchurch asks: ‘why is a woman with agency still such a scary notion?’
The Funfair: A New Adaptation by Simon Stephens
Walter Meierjohann discusses his production of Stephens’ The Funfair for the opening season at HOME, Manchester, in light of nationalist resurgence in the UK.