Papers by Nadine Holdsworth
SIGLEAvailable from British Library Document Supply Centre- DSC:DXN003239 / BLDSC - British Libra... more SIGLEAvailable from British Library Document Supply Centre- DSC:DXN003239 / BLDSC - British Library Document Supply CentreGBUnited Kingdo
Clive Barker and His Legacy, 2022
In 2019 a pilot project called ‘Homeless Monopoly’ evolved in Coventry to investigate how arts me... more In 2019 a pilot project called ‘Homeless Monopoly’ evolved in Coventry to investigate how arts methodologies, dramatic scenarios and gamification could be used to raise awareness in young people regarding homelessness. This article investigates the origins and collaborative development of this project, but specifically focuses on how piloting the game in schools, colleges and universities has raised questions about the ways in which resourcefulness and resilience might be taught as adaptive and sustainable strategies through processes of rehearsing and discussing unpredictable challenges, vulnerabilities, support mechanisms and different life outcomes rooted in ‘real-world’ scenarios.
"Throughout the history of the nation-state, theatre has contributed to the construction and... more "Throughout the history of the nation-state, theatre has contributed to the construction and reappraisal of the nation and national identities. This book argues that ideas of the nation are constantly in flux and explores the way theatre engages with such changes according to different geographical, political, economic, social and cultural climates".
The Routledge Companion to Studio Performance Practice, 2021
Theatre and National Identity, 2014
1. Introduction Nadine Holdsworth Part I: Revisiting 'National' Plays and Cultural Icons ... more 1. Introduction Nadine Holdsworth Part I: Revisiting 'National' Plays and Cultural Icons 2. "It's just changed color?": Clowning with Parodies of Religion, Race and Nation in Woza Albert! and Woza Andries? Anton Krueger 3. Over and Beyond Under Milk Wood: Dylan Thomas, National Icons and Re-Imagining the Cultural Landscape of Wales Nadine Holdsworth 4. Within These Walls: The Beaux Stratagem, the City of Derry and 'the only Loyalist theatre producer in Ireland' Wallace McDowell Part II: Directing the National Repertoire 5. La Casa De Bernarda Alba [The House of Bernard Alba]: Federica Garcia Lorca, the Spanish Civil War and the Issue of Historical Memory Maria M. Delgado 6. An Inspector Calls and Calls Again: Nation, Community and the Individual in J. B. Priestley's Play Maggie B. Gale 7. Stealing the Scene: Simon McBurney's All My Sons in New York Marvin Carlson Part III: The Nation's 'Imagined Community' 8. Born in YU: Performing, Negotiating, and Transforming an Abject Identity Silvija Jestrovic 9. What Happened to Our Nation of Culture? Staging the Theatre of the Other Germany Peter M. Boenisch Part IV: Nations in Flux 10. "Once Again With Feeling": Emily of Emerald Hill as Floating Signifier KK Seet 11. The Takarazuka Revue's Wind in the Dawn: (De-)nationalization of Japanese Women Nobuko Anan 12. 'Members of a Chorus of a Certain Tragedy': Euripides' Orestes at the National Theatre of Greece Marilena Zaroulia
New Theatre Quarterly, 1997
John McGrath is recognized as a leading practitioner and theorist of popular and political theatr... more John McGrath is recognized as a leading practitioner and theorist of popular and political theatre, in large part due to his work with 7:84 (England) and 7:84 (Scotland), but also through the contributions he has made to the debate surrounding this form of theatre, as summed up in his publication of A Good Night Out in 1981 and of The Bone Won't Break in 1990. McGrath has also written numerous articles, including those to be found in TQ19, TQ35, and NTQ4, in which he documents the work of the 7:84 companies and discusses the defining characteristics, ideological perspective, and potential for socio-political intervention of political theatre. Here, Nadine Holdsworth looks specifically at the importance of the audience as it related to 7:84 (England) in the 1970s and 1980s, and identifies some of the strategies employed by the company to attract and maintain a radical working-class audience. Nadine Holdsworth lectures in Theatre Studies at De Montfort University and has recently ...
New Theatre Quarterly, 1999
It has become a critical commonplace to contrast the relative generosity of the early Arts Counci... more It has become a critical commonplace to contrast the relative generosity of the early Arts Council towards establishment institutions with its miserliness towards Joan Littlewood's Theatre Workshop, as the company struggled to survive through the immediate post-war period of touring and then to establish itself with a degree of security at the Theatre Royal, Stratford East. In this article, Nadine Holdsworth complements evidence that has before been mainly anecdotal with material from the archives both of the company and the Council, and traces the mutual suspicions that were later also to undermine support for Littlewood's ‘Fun Palace’ in the 'sixties. She documents also the ironic loosening of the funding purse-strings at the very moment when Theatre Workshop's run of West End transfers depleted its energies at its Stratford base – and forced it also to return a percentage of its hard-won profits to Arts Council coffers. Nadine Holdsworth lectures in Theatre Studie...
Contemporary Theatre Review, 2003
Contemporary Theatre Review, 2003
... the one hand, their physical and geographical exploration is suggestive of new beginnings and... more ... the one hand, their physical and geographical exploration is suggestive of new beginnings and a ... Whereas Europe obliquely explores the nature of place, belonging and national identity, Passing ... has allowed Scotland to begin reformulating itself as a small nation within Europe. ...
Choice Reviews Online, 2011
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Papers by Nadine Holdsworth