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Keywords = Clean Break Theatre Company

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15 pages, 7257 KiB  
Article
The Letter Cloth: Sensory Modes of the Epistolary in Prison Theatre Practice
by Molly McPhee
Humanities 2023, 12(6), 139; https://doi.org/10.3390/h12060139 - 28 Nov 2023
Viewed by 1991
Abstract
In this article, I explore performances of letter writing within the archives of the London-based theatre company Clean Break, who work with justice-experienced women and women at risk. Clean Break’s archive at the Bishopsgate Institute in London contains an extensive collection of production [...] Read more.
In this article, I explore performances of letter writing within the archives of the London-based theatre company Clean Break, who work with justice-experienced women and women at risk. Clean Break’s archive at the Bishopsgate Institute in London contains an extensive collection of production ephemera and letters. Charting the company’s development across forty years of theatre productions, public advocacy, and work in prisons and community settings, these materials of the archive—strategic documents, annotated playscripts and rehearsal notes, production photography and correspondence—reveal the acute importance of the letter to people living on the immediate borderlands of the prison. Despite these generative resonances, however, the epistolary form is very rarely used in Clean Break’s theatre: as the archive reveals, since the company was founded by two women in HM Prison Askham Grange in 1979, stagings of letters have occurred in only a handful of instances. In this archival exploration of the epistolary in three works by Clean Break—a film broadcast by the BBC, a play staged at the Royal Court, and a circular chain-play written by women in three prisons—I investigate what lifeworlds beyond prison epistolary forms in performance propose. Full article
(This article belongs to the Special Issue With–In Bodies: Research Assemblages of the Sensory and the Embodied)
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19 pages, 124 KiB  
Article
Performative Criminology and the “State of Play” for Theatre with Criminalized Women
by Elise Merrill and Sylvie Frigon
Societies 2015, 5(2), 295-313; https://doi.org/10.3390/soc5020295 - 14 Apr 2015
Cited by 11 | Viewed by 6825
Abstract
This article applies feminist theory with cultural criminology to explore the role of theatre in the lives of criminalized women. Theatre initiatives for criminalized populations are growing worldwide, and so we are seeking to better understand how these two realms intersect. This article [...] Read more.
This article applies feminist theory with cultural criminology to explore the role of theatre in the lives of criminalized women. Theatre initiatives for criminalized populations are growing worldwide, and so we are seeking to better understand how these two realms intersect. This article is based on a case study which was conducted at the Clean Break Theatre Company in London, England in the summer of 2013. We explore some of the emerging themes, which took shape from a thematic analysis. First we describe how theatre can be used as a lens into the experiences of criminalized women, and then as a tool for growth in their lives. The role of environment at Clean Break, and the role of voice from practicing theatre in a women-only environment are then discussed. Lastly, the roles of transformation and growth overall for the participants are explored in relation to their experiences with theatre practices. This article works to understand how theatre practices can elevate and adapt cultural criminology into a new form of imaginative criminology, and questions how we can embrace this form of engagement between theatre and criminology within a Canadian context. Full article
(This article belongs to the Special Issue Imaginative Criminology)
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