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10 - Theatre and Science as Social Intervention

Published online by Cambridge University Press:  20 January 2021

By
Michael Carklin
Edited by
Kirsten E. Shepherd-Barr
Kirsten E. Shepherd-Barr
Affiliation:
University of Oxford
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Summary

Chapter 10: This chapter covers a broad range of practices, from science public engagement events to collaborations between artists and scientists, theatre for young people, drama education initiatives, and global activism projects. Several case studies are examined: first, examples of exhibitions, lectures, and demonstrations focusing on Michael Faraday and the Royal Institution Christmas Lectures, and on public autopsy demonstrations as well; second, arts-science collaborations, known as ‘sci-art,’ with reference particularly to the work of Y Touring; and third, theatre and activism in relation to climate change, as exemplified by Climate Change Theatre Action project. The discussion is framed within the author’s own experience as a practitioner working at the boundaries of theatre and science.

Keywords

autopsyclimate changeinterventionpublic engagementRoyal Institutionsci-artscience playstheatre and education
Type
Chapter
Information
The Cambridge Companion to Theatre and Science , pp. 146 - 161
Publisher: Cambridge University Press
Print publication year: 2020

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References

Suggested Reading

The Autopsy. Channel 4 (UK television). Performed by Gunter von Hagens, presented by Krishnan Guru-Murthy, directed by David Coleman. Mentorn/Channel 4, London. Broadcast 21 November 2002.Google Scholar
Bleeker, Maaike, ed. Anatomy Live: Performance and the Operating Theatre. Amsterdam, 2008.Google Scholar
‘Dr. Faraday’s Lectures at the Royal Institution’, British Medical Journal (5 January 1861): 18–19.CrossRefGoogle Scholar
‘Dr. Faraday’s Lectures at the Royal Institution’, British Medical Journal (12 January 1861): 49–51.Google Scholar
Ingham,  Karen. ‘Art and the Theatre of Mind and Body: How Contemporary Arts Practice Is Re‐framing the Anatomo‐Clinical Theatre’. Journal of Anatomy 216, no. 2 (February 2010): 251–63.Google Scholar
Kemp, Martin, and Wallace, Marina. Spectacular Bodies: The Art and Science of the Human Body from Leonardo to Now. London, 2000.Google Scholar
Klestinec,  Cynthia. Theatres of Anatomy: Students, Teachers, and Traditions of Dissection in Renaissance Venice. Baltimore, 2011.Google Scholar
Mandressi,  Rafael. ‘Of the Eye and of the Hand: Performance in Early Modern Anatomy’. TDR/The Drama Review 59, no. 3 (2015): 60–76.CrossRefGoogle Scholar
Prentki, Tim, and Preston, Sheila, eds. The Applied Theatre Reader. London, 2009.Google Scholar
Sawday, Jonathan. The Body Emblazoned: Art, Dissection and the Human Body in Renaissance Culture. London, 1995.Google Scholar
Stephenson, Shelagh. An Experiment with an Air Pump. London, 1998.Google Scholar
Teare, Jeff. ‘Theatrescience 2002–2013’. In Knowledges in Publics, ed. Locke, Lorraine and Locke, Simon. Newcastle upon Tyne, 2013, 105–18.Google Scholar
Thomas, John Meurig. Michael Faraday and the Royal Institution. Bristol,1991.Google Scholar
Watt Smith, Tiffany. On Flinching: Theatricality and Scientific Looking from Darwin to Shell Shock. Oxford, 2014.Google Scholar
Wootton, David, ed. The Invention of Science: A New History of the Scientific Revolution. London, 2015.Google Scholar

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