Kate Dorney

The University of Manchester, Drama, Faculty Member

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Co-editor, Studies in Theatre & Performance: http://www.tandfonline.com/rstp
Co-editor, Studies in Costume and Performance: http://tinyurl.com/Studies-in-Costume

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Holger Syme

University of Toronto

Andrea Peto

Central European University

David Seamon

Kansas State University

Claire Bishop

Graduate Center of the City University of New York

Rachel Clements

The University of Manchester

John Sutton

Macquarie University

Laurajane Smith

The Australian National University

Anna Tabaki

National & Kapodistrian University of Athens

Esther Solomon (Εσθήρ Σολομών)

University of Ioannina/Greece

Francesca Gazzano

University of Genova

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Books by Kate Dorney

Played in Britain: Modern Theatre in 100 Plays

The Glory of the Garden: English Regional Theatre & the Arts Council of Great Britain

The Glory of the Garden examines concepts and contexts of 'regional' theatre in an age of globali... more The Glory of the Garden examines concepts and contexts of 'regional' theatre in an age of globalisation and cosmopolitanism. It outlines the key debates and trends in the development of regional theatre since 1984 when public subsidy became a part of a package of 'plural funding' and examines regional theatre's role in the theatrical ecology. Variously perceived as a training ground for practitioners or a career dead-end; purveyor of stale product or innovative powerhouse; and, a transformer of urban environments and community hub, regional theatre has been a constant source of anxiety and pride for the Arts Council, the theatre community and arts journalists. "The Glory of the Garden" moves the debate about the role and importance of regional theatre beyond the cliche of crisis to examine the politics and policy of making performance outside London. This study combines contextual essays with practitioners' accounts and case studies including: Birmingham Rep; Bristol Old Vic; Liverpool Everyman; Liverpool Playhouse; Lyric Hammersmith; New Victoria Theatre Stoke; Nottingham Playhouse; Salisbury Playhouse and key touring companies: Cheek by Jowl; Complicite; and, Kneehigh Theatre.

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The Changing Language of Modern English Drama 1945-2009

A history of post-war English theatre that discusses how the practice and criticism of theatre in... more A history of post-war English theatre that discusses how the practice and criticism of theatre interact with contemporary understandings of language between 1945 and 2005. From Noel Coward to Sarah Kane and J.B Priestley to Harold Pinter it considers attitudes to, and the reception and construction of, language in English theatre and the social, cultural, intellectual and artistic implications of these practices. Synthesising and supplementing existing work in theatre and cultural studies as well as in stylistics, The Changing Language of Modern English Drama considers the ways in which anxieties about, and attitudes toward, language manifest themselves in discourses on and around theatre of the period.

Papers by Kate Dorney

Banbury, (Frederick Harold) Frith (1912–2008), actor, theatre director, and producer

Oxford University Press eBooks, Jan 5, 2012

Stage women, 1900–50

Author's collection. 2 Gladys Cooper in the laboratory finding time to develop a line of beauty p... more Author's collection. 2 Gladys Cooper in the laboratory finding time to develop a line of beauty products, The Sketch, 13 October 1926. Author's collection. 3 Gabrielle Enthoven in fancy dress, date unknown. © Victoria and Albert Museum, London. 4 Gabrielle Enthoven cataloguing playbills, date unknown.

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Albanesi, Margherita Cecilia Brigida Lucia Maria [Meggie] (1899–1923), actress

Oxford University Press eBooks, Jun 14, 2018

Staging Space: Design for Performance 1958-1989

Sarah Kane

Albanesi, Margherita Cecilia Brigida Lucia Maria [Meggie] (1899–1923), actress

Oxford Dictionary of National Biography, 2018

35.1 Editorial

Studies in Theatre and Performance, 2015

Stage women 1900–50: female theatre workers and professional practice

Women's History Review, 2019

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Costume

Cambridge University Press eBooks, Aug 17, 2019

Performing the Dandy

Shakespeare Stripped: Costuming Prisoner-of-war Entertainments and Cabaret

Pip Simmons Theatre Group

Vivien Leigh: Actress and Icon

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The glory of the garden: regional theatre and the Arts Council 1984–2009

Cultural Trends, 2012

This collection of 10 essays is a rich contribution to the history of the regional theatre ecolog... more This collection of 10 essays is a rich contribution to the history of the regional theatre ecology in the last 30 years. All the main shifts that have affected the sector during the period are discussed: the introduction of measures like devolution or parity funding between the Arts Council and local authorities, but also ongoing debates-such as the balance between democratisation and excellence, tradition and innovation, or administration and creativity. Tensions between what is implied by such notions as local/regional/cosmopolitan/national/global are present throughout the period. These were not solved by the new policies initiated as a result of the Glory of the Garden report released in 1984, although it was, as A. Jackson underlines, "the Arts Council's most serious attempt yet to address the London-centredness of the arts and the needs of the regions" (p. 23). The book's main challenge, in line with arts policy itself, was to successfully articulate artistic focus with social, economic, administrative and political imperatives and to identify the complex web of partners: "an ERPT [English Regional Producing Theatre] must produce shows that are excellent (for ACE), educational (for the local Authority), popular (for both funders) and challenging, and that draw in new audiences as well as retaining existing ones" (p. 199). While regional theatres share common features, the numerous case studies included in the chapters allow the reader to grasp their individuality, notably in terms of programming and response to national and local policies. Both editors are specialists of contemporary British theatre. Kate Dorney is Senior Curator of Modern and Contemporary Performance at the Victoria and Albert Museum, editor of the journal Studies in Theatre and Performance and the author of The Changing Language of Modern English Drama 1945-2005 (2009). Ros Merkin is Reader in Drama at Liverpool John Moores University. She has published Liverpool's Third Cathedral: The Liverpool Everyman Theatre (2004), and her research focuses on the regional theatres ecology. This volume stems from two Arts and Humanities Research Council funded projects. The first one implied rehousing and cataloguing the archives of the Liverpool Everyman (Ros Merkin), and creating an oral history of theatre (Kate Dorney). In 2006, it was concluded by a conference on regional theatre since 1980. The second one, a joint venture between the V&A and Reading University, drew on Arts Council archives to analyse the relationship between subsidy, policy and practice in British theatre. The editors' rich introduction stresses the number of ups and downs regional theatres have faced since 1984 as structural and new public management reforms were gradually introduced, leading to the commodification of the sector: "crises run like a sore through the period and inevitably through this book". The rest of the contributions also capture the constant instability of the funded arts sector in general, starting with the Arts Council itself, and how ambiguous the relationships between all levels of authority have been. However, they have managed to go beyond this sense of "impending doom, destruction and devastation" (p. 1) to demonstrate why regional theatres could also inspire such opposite feelings as contempt or pride to funders, the arts community or the media alike. This means they have been alternatively seen

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Costume: Changing Technologies of Stage Performance

Joe Orton: Special Issue of Studies in Theatre & Performance

Taylor & Francis, Aug 1, 2017

Schouvaloff, Alexander (1934–2012), theatre administrator and museum curator

Played in Britain: Modern Theatre in 100 Plays

The Glory of the Garden: English Regional Theatre & the Arts Council of Great Britain

Download

The Changing Language of Modern English Drama 1945-2009

Banbury, (Frederick Harold) Frith (1912–2008), actor, theatre director, and producer

Oxford University Press eBooks, Jan 5, 2012

Stage women, 1900–50

Download

Albanesi, Margherita Cecilia Brigida Lucia Maria [Meggie] (1899–1923), actress

Oxford University Press eBooks, Jun 14, 2018

Staging Space: Design for Performance 1958-1989

Sarah Kane

Albanesi, Margherita Cecilia Brigida Lucia Maria [Meggie] (1899–1923), actress

Oxford Dictionary of National Biography, 2018

35.1 Editorial

Studies in Theatre and Performance, 2015

Stage women 1900–50: female theatre workers and professional practice

Women's History Review, 2019

Download

Costume

Cambridge University Press eBooks, Aug 17, 2019

Performing the Dandy

Shakespeare Stripped: Costuming Prisoner-of-war Entertainments and Cabaret

Pip Simmons Theatre Group

Vivien Leigh: Actress and Icon

Download

The glory of the garden: regional theatre and the Arts Council 1984–2009

Cultural Trends, 2012

Download

Costume: Changing Technologies of Stage Performance

Joe Orton: Special Issue of Studies in Theatre & Performance

Taylor & Francis, Aug 1, 2017

Schouvaloff, Alexander (1934–2012), theatre administrator and museum curator

Editorial, Studies in Costume and Performance 1.2

1990–2000: Talk Is Cheap

The Changing Language of Modern English Drama 1945–2005, 2009

By calling this chapter ‘Talk Is Cheap’ I am foregrounding a number of things: the way in which t... more By calling this chapter ‘Talk Is Cheap’ I am foregrounding a number of things: the way in which the revolution in telecoms and information technology opened up the world and the global economy during the 1990s; the way in which ‘therapy’ culture took off and encouraged people to ‘get in touch with’ and ‘talk about’ their feelings; and the way in which the ordinary business of talking was re-packaged as ‘communication’ and a set of related skills. The World Wide Web went from being a way scientists across the globe could communicate and share data by computer, to a global system, in the space of a few years. Mobile phones went from being the privileged communication tool of the few to the default device of the many in a similar time space. Companies saved on wages and office space by opening up ‘call centres’ to deal with customers and the centres were increasingly based outside the UK (often in India); transactions that had only a decade before been carried out locally (buying insurance, paying bills, dealing with the bank) were now done at arms length.1 Richard Hoggart’s vision of a community where everyone knew each other and helped each other out was replaced by the idea of a global community in which people formed relationships with each other without ever having to meet.

Coda: Lifelike-ese since 2000

The Changing Language of Modern English Drama 1945–2005, 2009

It seems fitting, given the anxiety the threat of the millennium bug caused in the run-up to 2000... more It seems fitting, given the anxiety the threat of the millennium bug caused in the run-up to 2000, that the most recent preoccupations of language minders should be the threat to language posed by new technology, and in particular by e-mail and mobile phone messaging. In 2002, a 13-year-old Scottish provoked a furore by using ‘txt’ language in an exam to write an account of her holiday. The BBC news Web site, and the Children’s BBC offshoot CBBC News both ran debates on the subject, and the Guardian’s education editor also wrote a piece on the threat of txt language, ‘Txt msg surprise for examiners’, citing Anne Barnes’s (‘a senior examiner in English’) comments on the subject. Barnes commented: ‘The thought and quality of the answer has to be balanced against the fact that it is not standard language when it should be’. She also complained of ‘soap opera language’ in some papers, and said‘seperate is now so common that it has almost become an official alternative for separate’. (Will Woodward, Guardian, 17 August 2002)

Kate Dorney

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