Papers by Alyson Campbell
Springer eBooks, 2018
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Theatre Topics, 2020
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Theatre Research International, Aug 30, 2011
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Journal of adaptation in film & performance, Dec 14, 2011
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In this chapter Alyson Campbell looks at The Butch Monologues (TBM) by Libro Levi (Doc) Bridgeman... more In this chapter Alyson Campbell looks at The Butch Monologues (TBM) by Libro Levi (Doc) Bridgeman, directed by JulieMc McNamara (Mack) (2013–present). Based mainly on an interview with the writer and director, and Campbell’s own multiple viewings of the work, the chapter examines how the collection and, more precisely, the productions of it, make an intervention into this very painful contemporary context, and history, of ‘“border wars’ between butch lesbians and trans men” (Mackay in J Lesbian Stud 23:399, 2019b; and see Halberstam, 1998). It is suggested that TBM manage to blur these borders, or at least niggle this negative framing, and Campbell argues that the stories it tells are more relevant than ever, given this current tension.
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Fat Studies, Mar 14, 2022
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Springer eBooks, 2018
This essay stems from a Practice as Research performance installation, GL RY, led by the author i... more This essay stems from a Practice as Research performance installation, GL RY, led by the author in a public square throughout the 2014 International AIDS Conference in Melbourne. The essay argues that there is a gaping hole in representation of women living with HIV in contemporary performance in countries like Australia. The essay proposes two main concepts: conversation—in form as well as process—is a key part of a contemporary dramaturgy of HIV; and, building on that, this dramaturgy of conversation might be productively merged with queer ideas of kinship and family to form what I am calling ‘feral pedagogies’: a queerly de-domesticated idea of how we teach and learn, in this case about HIV.
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Australasian Drama Studies, Apr 1, 2005
... Please use this identifier to cite or link to this item: http://qcite.qub.ac.uk/handle/123456... more ... Please use this identifier to cite or link to this item: http://qcite.qub.ac.uk/handle/123456789/ 23510. Title: Experiencing Kane: an affective analysis of Sarah Kane's 'experiential' theatre in performance. Authors: Campbell A. Issue Date: 2005. ...
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Theatre Research International, Feb 6, 2015
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Five years after the publication of New Dramaturgy: International Perspectives on Theory and Prac... more Five years after the publication of New Dramaturgy: International Perspectives on Theory and Practice (first in the field), the editors of this international best-selling volume, Katalin Trencsenyi and Bernadette Cochrane, join with Alyson Campbell and Marcel Dorney to explore together what new dramaturgy means in their own practice and what dramaturgy in the 21st century can become.
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In 1993 in Amsterdam a landmark symposium, ‘Context 01:Active Pooling, the New Theatre’s Word-Per... more In 1993 in Amsterdam a landmark symposium, ‘Context 01:Active Pooling, the New Theatre’s Word-Perfect’, took place focusing on the theory and practice of contemporary theatre. The initiators of this conference started out with the recognition of a fundamental shift in the dramaturgical landscape: that “in many countries a form of theatre is being produced which answers to paradigms other than the traditional (reflected significantly in the play’s dramaturgy), and the realisation that there is currently no terminology available to describe those paradigms in all their aspects“(Van Kerkhoven: 1995). This new paradigm, new dramaturgy, a process-oriented way of working, gained not only a name, but a growing terminology, case studies of its processes, and explorations of the questions it posed.
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Palgrave Macmillan UK eBooks, 2016
Theatre and live performance experiences can, if they are powerful, move an audience — to emotion... more Theatre and live performance experiences can, if they are powerful, move an audience — to emotion, to thought, even (on rare occasions) to action. Like many theatre experiences, the moments described above ‘moved’ us when we saw them. We were aware that they resonated in a particularly profound way for us, in a way that was different from what we had otherwise experienced in our personal theatre-going histories. We recognised that these moments were transgressive, and that something was happening that felt out of place with our expectations. We were each moved to question what exactly had caused such a profound affective connection with the work. This ‘something’, we realised, was queer. For both of us, the search for an answer led us (eventually) to queer theory. But before we got to theory, we started with performance — as makers and spectators and, eventually, as academic researchers and teachers. In particular we recognised that our encounters with the spaces of theatres, gay/lesbian bars and queer cabarets, the performances we saw in them and the people we saw them with, were about us experiencing something on a corporeal, gut level in a specific location at a particular time and being attracted to it. We knew something had happened to us, and the people around us, and we understood that it was connected to sexuality, community and identity.
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DOAJ (DOAJ: Directory of Open Access Journals), Dec 1, 2021
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Performing Practice-Based Research
This article is an exploration of the ideas galvanizing our practice-based research. Structured a... more This article is an exploration of the ideas galvanizing our practice-based research. Structured as a dialogue between a director, sound designer and lighting designer, this piece explores how the nexus of queerness, affect and performance informs each of our specialist areas. We articulate how affect and queer theories drive our individual enquiries and use our experience of working together on the Australian premiere production of Lachlan Philpott’s promiscuous/cities to consider the relationships between our disciplines. We focus on moments of transition—common components of any theatre piece—as a way of interrogating how this interdisciplinary dialogue works within the development of the work and performance outcomes. Throughout this dialogue, we ask what the state of transition does for each of us when we make or see a piece of work—whether this be an experience of temporal instability, a rhythmic movement into a new state or a form of punctuation—and we consider how we can appr...
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Palgrave Macmillan eBooks, Jan 26, 2016
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In this chapter Alyson Campbell looks at The Butch Monologues (TBM) by Libro Levi (Doc) Bridgeman... more In this chapter Alyson Campbell looks at The Butch Monologues (TBM) by Libro Levi (Doc) Bridgeman, directed by JulieMc McNamara (Mack) (2013–present). Based mainly on an interview with the writer and director, and Campbell’s own multiple viewings of the work, the chapter examines how the collection and, more precisely, the productions of it, make an intervention into this very painful contemporary context, and history, of ‘“border wars’ between butch lesbians and trans men” (Mackay in J Lesbian Stud 23:399, 2019b; and see Halberstam, 1998). It is suggested that TBM manage to blur these borders, or at least niggle this negative framing, and Campbell argues that the stories it tells are more relevant than ever, given this current tension.
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Papers by Alyson Campbell