Abstract
This chapter explores the emergence of One Hour Theatre Company (OHTC) from the work of Performance and Civic Futures Research Group. OHTC set out to explore the plays as, what Kevin Curran (2016) called, ‘living art, vital thought-worlds that struggle, across time, with foundational questions of metaphysics, ethics, politics, and aesthetics.’ This chapter looks critically at OHTC’s approach to creating ‘new worlds of knowledge and new scenes of ethical encounter’ (Curran 2016) along existential axes of Justice/Democracy, and Subordination and Exclusion/Empowerment and Inclusion. The critique surveys three OHTC productions, two of which were dramaturged and directed by the author.
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Notes
- 1.
- 2.
Jim Nolan, Author’s Note, in Johnny I Hardly Knew Ye Spring Tour 2017 programme (Waterford: Garter Lane Arts Centre): unpaginated.
- 3.
Nolan (2017).
- 4.
- 5.
Kevin Curran, ‘Series Editor’s Introduction’, in Amir Khan, Shakespeare in Hindsight: Counterfactual Thinking and Shakespearean Tragedy (Edinburgh: Edinburgh University Press, 2016): xii.
- 6.
Angelo: Paul O’Hanrahan; Isabella: Lucie Rice; Nadia: Sally Smithson; Angelo Saldini: Antonio Garcia Romero; Duke/Friar: Tim Prentki. Rice and Smithson are members of Take a Hint Theatre Company.
- 7.
Tim Prentki, Half Measures (unpublished play script, 2016): 16. References throughout this chapter are to this text, so only page numbers will be given for further quotations.
- 8.
Goodwin, M. J. & Heath, O., 2016. The 2016 Referendum, Brexit and the Left Behind: An Aggregate-level Analysis of the Result. The Political Quarterly, 87(3): 329, cited in Brendon Burns, ‘These aren’t the targets you’re looking for: Inequality, Displacement and Anti-immigration hostility’ (unpublished ‘Appendix 3’, to Burns, Dialogue over derogation: The transformative potential of reasoning and rhetoric in modern discourse on Immigration, MRes Dissertation, Royal Holloway, University of London, 2017): 76.
- 9.
Tim Prentki, Lear in Brexitland (unpublished rehearsed reading script, 2017): 1. References throughout this chapter are to this text, so only page numbers will be given for further quotations.
- 10.
Lear: Paul O’Hanrahan; Fool: Nuala Maguire; Lee Smith, a carpenter: Samuel Thompson; Stage directions/ Paramedic/Driver (Scene 11): Victor Merriman; Alisha Desai, a nurse: Maria Paul; Krysia Kowalska: Clare Chandler.
- 11.
Shylock: Paul O’Hanrahan; Portia: Sally Smithson; Antonio/Duke of Venice/Jessica/Salerio/Tubal/Prospero: Nuala Maguire; Caliban: Naomi Joyne; Trinculo: Helen Newall. Original score: Mxolisi Norman.
- 12.
David Peimer and Robert Gordon, A Pound of Flesh (unpublished play script, 2017): 1. References throughout this chapter are to this text, so only page numbers will be given for further quotations.
- 13.
Ania Loomba, Shakespeare, Race and Colonialism (Routledge, 2002): 160.
- 14.
Loomba (2002): 167.
- 15.
Loomba (2002): 162–4.
- 16.
Loomba (2002): 165.
- 17.
- 18.
Brendon Burns, ‘Dialogue over Derogation: The transformative potential of reasoning and rhetoric in modern discourse on immigration’ (unpublished, 2017): 4.
- 19.
Burns (2017): 4.
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Merriman, V. (2019). (Re)Public Worlds: Drama As Ethical Encounter. In: Austerity and the Public Role of Drama. Palgrave Pivot, Cham. https://doi.org/10.1007/978-3-030-03260-9_6
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DOI: https://doi.org/10.1007/978-3-030-03260-9_6
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