A New Model for a New Nation: The National Theatre of Scotland Dr. Trish Reid Tuesday 21st April Room C118, 18:30 The most significant event in Scottish theatre in the last twenty years has undoubtedly been the establishment of the National Theatre of Scotland. The precise circumstances that led to the new company being constituted […]
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Michael Chekhov and his influence on British theatre-practice from 1936 to the present day. Graham Dixon (Michael Chekhov Studio, London) Tuesday 20th January Room C118, 18.30 to 20.00 Graham Dixon will talk about Michael Chekhov’s studio in Dartington Hall, Devon, in the mid-1930s and whether Chekhov’s approach to the art of acting and directing has […]
Emergency Exit Arts at Rose Bruford On Friday 24th October a pyro and fire display was staged on the college grounds. Based on Shakespeare’s The Tempest, the event was part of a collaborative project between Design, Management and Technical Arts and Emergency Exit Arts.
Unfortunately some speakers who were due to speak at Oh Yes it really is! have had to pull out, and so the event has had to be cancelled. We will try to re-schedule it for next year. Oh Yes, it really is! – Panto in the 21st century Friday 14th November 10.00 – 17.00 The Actors Centre, 1A […]
Hiding Nothing An Uta Hagen Lecture/Demonstration Prof. Kelly Handerek (University of Regina) Monday 27th November, 18.30 to 20.30 Studio 2 “Through the consideration of Uta Hagen’s vision the human technique of each individual actor can express a detailed and living understanding of self in the character. Examined and recreated self-observation allows the actor an awareness […]
Rose Bruford College is thrilled to be hosting the pioneering Palestinian theatre company Ashtar Theatre as they return to London with a one-off performance of their work 48 Minutes for Palestine in The Rose Theatre on Wednesday April 9th. 48 Minutes for Palestine is a compelling new drama without words, about a woman and a […]
Professor Simon Trussler, former Senior Research Fellow of the College, retired in 2011. His contribution to theatre scholarship has been significant and he continues to exert a considerable influence given his curation of an immense body of knowledge evidenced by his co-editorship (first with Clive Barker and now with Maria Shevtsova) of New Theatre Quarterly since its […]