This project aims to provide students with an opportunity to engage, not just academically, but experientially with a written text, and to participate in the joint process of bringing a source text to life through the production of a public performance.
The aim is for students to engage closely and interactively with source texts in order to reflect on the way that central themes in these plays are developed and continue to impact on contemporary society.
The intention is to heighten students’ awareness of the practical and intercultural aspects of theatrical performance through performative interpretations of the source texts.
To bring students and staff together to perform with external speakers and engage successfully with members of the public.
Whilst the aims and objectives remain the same every year, the unique make-up of each theatre group take participants onto new, creative and stimulating adventures.
The projects are sponsored by the Head of School and financially supported by the Dean of Faculty, Dr Stella Bruzzi, with the Dean’s fund, and the occasional contribution from cultural organisations.
For the following roles passion and commitment are key requirements. You also need to have a group spirit and be able to attend weekly rehearsals. Please contact Dr Marta Niccolai via email@example.com for more information and to apply.
- Acting students
- Arts & crafts
- Stage manager
- Graphic designer
- Project assistance
- Light and stage designer
- Media expert
Performances and Photo Galleries
In our first year, we staged three performances at The Bloomsbury Studio. The three projects engaged a total of 30 students, most of them from the School, with a few keen students from EISPS and other faculties.
- The Gallant Cassian (1914)
A one-act puppet play by the German playwright Arthur Schnitzler (staged at The Bloomsbury Studio; 26th and 27th February 2019). The poster for the performance includes a second one-act play by Schnitzler, The Puppeteer (1914). See the gallery below. Unfortunately due to unforeseen circumstance this performance had to be cancelled.
- Dr Judith Beniston (German Studies) gave us a seminar on Schnitzler and helped us during the final stages of the rehearsals.
- Oliver Hymans (Puppetry tutor, theatre maker and Arts Education Practitioner) gave a seminar on how to move the human body as a puppet.
Our theatre group presents two one-act plays by the Austrian dramatist Arthur Schnitzler: the Puppeteer and Gallant Cassian. Here the Viennese doctor uses the idea of the puppet to take his scalpel into coercive relationships and ask how far any of us is in control of our destiny.
Published in the cycle Marionettes in 1906, the two plays construct unstable love triangles. While in the Puppeteer metaphorical puppets come to life, revealing the dark underpinning of an happy marriage, Gallant Cassian is explicitly a puppet play. Performed by puppet like human actors, its bittersweet love triangle lays bare some of the -potentially destructive – drives and impulses that all too often seem to be pulling our strings.
We perform both plays in English translation, presenting Gallant Cassian in a new version, created by our students.
- Right You Are! (If You Think So) (1917)
A play by the Italian playwright Luigi Pirandello (staged at The Bloomsbury Studio on 6th and 7th March 2019). See the gallery below.
Marco Gambino, an International /Italian actor, helped us stage a modern version of Pirandello.
In Right You Are, seven respectable, middle-class types in a comfortable, bourgeois home argue over their perceptions of a mysterious woman, the Signor Ponza’s wife, seen at the window of a nearby building.
No one has ever seen Signor Ponza’s wife and her mother, Signora Frola, together. Councillor Agazzi, Ponza’s employer, investigates Ponza’s private life. Ponza claims that his wife is really his second wife, the first having died in an earthquake that destroyed all verifying documents. Too, his wife only pretends to be Signora Frola’s daughter to humour Signora Frola, who, he claims, is insane. Thoroughly bewildered, Agazzi demands to meet Ponza’s wife, who arrives, heavily veiled, proclaiming herself as both the daughter of Signora Frola and the second wife of Ponza. The “truth” of the matter remains a mystery.
This work, like almost all of Pirandello’s plays, contrasts art and life, demonstrating that truth is subjective and relative. Presented by the students in a new modern, English version.
- Rhynoceros (1959)
A play by the Romanian-French playwright Eugène Ionesco (staged at The Bloomsbury Studio on 26th and 27th March 2019). See the gallery below.
Eleanor Henderson, experienced British actress and acting coach, coached the Rhynoceros group during rehearsals.
This is an absurdist play written by Eugene Ionesco in 1959. Over the course of three acts, the inhabitants of a small, provincial French town turn into rhinoceroses; ultimately the only human who does not succumb to this mass metamorphosis is the central character, Bérenger, a flustered everyman figure who is initially criticized in the play for his drinking, tardiness, and scruffy lifestyle and then, later, for his increasing paranoia and obsession with the rhinoceroses. The play explores the themes of conformity, culture, fascism, responsibility, logic, mass movements, philosophy and morality.
The Students have been faithful to the plot, presented in English with a modern cut.
- Women Who Were Loved to Death (2019)
This UK premiere is based on a selection of 16 monologues found in ‘Ferite a morte’ (Wounded to Death) written by the author and TV presenter Serena Dandini, with Maura Misiti (2013) with and original monologue by Margot Antignac (SELCS UG). The stories draw from real events of domestic violence perpetrated all over the world.
This multimedia performance presents an ironic yet gripping portrayal of domestic violence. A creative narration of real people’s stories that explores an issue still largely undervalued. Seventeen women from all over the world are brought back to life to tell of their relationship that led to their own death. A background of music and artistic projections accompanies a dance of love and death and amplifies the women’s voices emerging from the monologues.
This is a passionate celebration of women who were loved to death but reclaim their soul on stage.
The Performance is based on an idea by Marta Niccolai and Alessandra De Martino
Directed by Marta Niccolai and Margot Antignac
Choreography: Hana Pospisilova (SELCS UG)
Soundtrack: La Valse de Augustine by Vladimir Cosma
Dummies: Bella Barlow (SELCS UG) and Bori Papp (SELCS UG)
Promotion: Javier Huerta Rodriguez (SELCS UG)
Assistant: Xu Xiayan (SELCS/CMII graduate)
Cast (alphabetical order):
Antignac Margot (SELCS UG)
Bivona Lucrezia (SELCS/CMII graduate)
Burnham Jimmy (History UG)
Chennery Philip (English dept. UG)
Formaggia Enrico (SELCS UG)
Hou Yilin (SELCS/CMII graduate)
Huerta Rodriguez Javier (SELCS UG)
Pala Michele (SELCS admin)
Wang Elva Gefan (SELCS/CMII graduate)
Wang Boya (SELCS/CMII graduate)
Alessandra De Martino (Warwick university) translated the monologues from Italian into English
Eugenio Cappuccio (graphic designer) did the poster
Diana Onuma, former lawyer and author of D.A.R.E. (Domestic Abuse Rescue Essentials) was the guest speaker at the end of the performance
The British-Italian Society sponsored the performance with a donation.