I am a Theatre practitioner working and living in London. I am primarily interested in the process of creating a piece of work, what we learn along the way, how we translate and counter translate, and how that is, or can be performative in and of itself. I wrote this essay as part of my MA, from which I recently graduated. It is also the starting block for research that I am planning to continue for the foreseeable future. I would love to hear any thoughts, points of view, or counter arguments in relation to the essay featured here. It would really help me to further develop my work.

Is it an unequivocal fact that Theatre is a communitarian place? Do you have to have a ‘message’ and a target audience for a piece of work to be deemed ‘good’, or more imporantly – fundable? What does liveness actually mean today and what is its relation to theatre?

To read the essay in the correct order simply click on ‘Archives’ and scroll down… I get so confused trying to get things on line – what can I say… this is the best format that I could manage :o) Enjoy!


You can either post comments here, view progress on my practical work at:

Or email me:

Creative Commons License
The Emancipated Spectator: A Way Forward for Theatre Without Opposing ;;; by Laura Bean is licensed under a Creative Commons Attribution-No Derivative Works 2.0 UK: England & Wales License.


Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s