Faculty of Arts, Humanities and Cultures

School of Performance and Cultural Industries

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Dr George Rodosthenous

Associate Professor in Theatre Directing, Admissions Lead

+44 (0)113 343 8725

Room G.09

Office hours: Tuesday 3.00pm.-4.00pm.

BMus(Hons), MA, PhD, PGCLTHE.

Dr George Rodosthenous is Associate Professor in Theatre Directing with research interests in Directing, Spectatorship, Contemporary Musical Theatre, Improvisation and Updating Greek Tragedy.

Biography

Dr George Rodosthenous is Associate Professor in Theatre Directing at the School of Performance and Cultural Industries of the University of Leeds since 2002. He has been the Director of Enterprise and Knowledge Transfer for the School from 2009-2012. George is the Artistic Director of the theatre company ‘Altitude North’ and also works as a freelance director/composer for the theatre. His research interests are ‘the body in performance’, ‘refining improvisational techniques and compositional practices for performance’, ‘devising pieces with live musical soundscapes as interdisciplinary process’, ‘updating Greek Tragedy’ and ‘The British Musical’.

Research Interests

  • Directing
  • Theatre as voyeurism
  • The Body in Performance
  • Contemporary Approaches to Greek Tragedy
  • Devised pieces with live musical soundscape(s) as interdisciplinary process: the interfaces between Music, Movement and Text
  • Refining improvisational techniques and compositional practices for Performance
  • Musicals of the 21st Century
  • Contemporary British Drama since the 1990s

Teaching

Level I:

PECI 1701 Studio Practices

PECI 1703 Performance Project

PECI 1708 Exploring the Musical

Level II:

PECI 2705 Theatre Directing (Module Leader)

PECI 2708 Exploring Musical Theatre

Level III:

PECI 3106 Performance Project (Module Leader)

 

 

Responsibilities

Admissions Lead

 

Publications

Books

  • Rodosthenous G (eds.) (2017) Twenty-First Century Musicals: From Stage to Screen. Routledge.

  • Rodosthenous G (eds.) (2017) The Disney Musical on Stage and Screen: Critical Approaches from 'Snow White' to 'Frozen'. Bloomsbury Methuen Drama.

  • Rodosthenous G (eds.) (2017) Contemporary adaptations of Greek Tragedy: Auteurship and Directorial Visions. Bloomsbury Methuen Drama.

  • Rodosthenous G (eds.) (2015) Theatre as Voyeurism: The Pleasures of watching. Palgrave.

  • Rodosthenous G (2015) Introduction: Staring at the Forbidden: Legitimizing Voyeurism.
    DOI: 10.1057/9781137478818_1

Journal articles

  • Rodosthenous G (2017) ““Use your hands!”: Incorporating the actor’s hand choreography in performance”, Studies in Musical Theatre. (In preparation)

  • Rodosthenous G (2017) “Lighting Design for Musicals and Opera - An Interview with Jon Clark”, Studies in Musical Theatre. (In preparation)

  • Rodosthenous G (2016) “Sound design in theatre: Interruptions, counterpoints and punctuations - an interview with Mic Pool”, STUDIES IN MUSICAL THEATRE. 10.2: 243-251.
    DOI: 10.1386/smt.10.2.243_1

  • Rodosthenous G (2016) “Directing Scenes and Senses: The Thinking of Regie byPeter Boenisch. Reviewed by Dr George Rodosthenous”, Critical Stages. 13

  • Rodosthenous G, Radosavljevic D (2016) “Reversing the Process: Investigating multi-disciplinary Compositional Practices in The Fall of Icarus [2009]”, Theatre Topics. 26.1: 105-116.
    DOI: 10.1353/tt.2016.0018

  • Rodosthenous G, Lennox S (2015) “The Boxer-Trainer, Actor-Director Relationship: An exploration of creative freedom”, Sport in Society.
    DOI: 10.1080/17430437.2015.1067769

  • Rodosthenous G (2013) “Directing: A Handbook for Emerging Theatre Directors.”, THEATRE RESEARCH INTERNATIONAL. 38.3: 266-267.
    DOI: 10.1017/S0307883313000424

  • Rodosthenous G (2013) “Directing by Rob Swain. Reviewed by Dr George Rodosthenous”, Theatre Research International. 38.3: 266-267.

  • Rodosthenous G (2013) “The Oxford Handbook of the American Musical. By Raymond Knapp, Mitchell Morris and Stacy Wolf (eds). Reviewed by Dr George Rodosthenous,”, Theatre Research International. 38.2: 161-163.

  • Rodosthenous G (2013) “The Oxford Handbook of the American Musical”, THEATRE RESEARCH INTERNATIONAL. 38.2: 161-163.
    DOI: 10.1017/S0307883313000072

  • Rodosthenous G (2013) “'Love is a con. A construction. And I am an engineer': De-constructing bisexual love and rejection in "Othello’s Revenge"”, Journal of Adaptation in Film & Performance. 6.1

  • Rodosthenous G (2012) “Composing a new British Musical: Go[-ing] between musicality and theatricality. An Interview with Richard Taylor”, Studies in Musical Theatre. 6.2

  • Rodosthenous G (2012) “"Outlying Islands" as theatre of voyeurism: ornithologists, naked bodies and the ‘pleasure of peeping’.”, Studies in Theatre and Performance. 32.1
    DOI: 10.1386/stap.32.1.61_1

  • Rodosthenous G (2012) “Directing Musical Theatre: Spectacles, Radical Interpretations and nostalgia. An Interview with Nikolai Foster”, Studies in Musical Theatre. 6.3

  • Rodosthenous G (2011) “Writing the book for a new musical: Secret Gardens, the art of collaboration and the state of the British Musical. An Interview with Garry Lyons”, Studies in Musical Theatre. 5.3
    DOI: 10.1386/smt.5.3.315_1

  • Rodosthenous G (2011) “Writing the book for a musical: Secret Gardens, the art of collaboration and the state of the British musical - an interview with Garry Lyons”, Studies in Musical Theatre. 5.3: 315-324.

  • Rodosthenous G, Greig D (2011) “'I Let the Language Lead the Dance': Politics, Musicality, and Voyeurism”, NEW THEAT Q. 27.105: 3-13.
    DOI: 10.1017/S0266464X11000017

  • Hadjioannou M, Rodosthenous G (2011) “In between stage and screen: The intermedial in Katie Mitchell’s some trace of her”, International Journal of Performance Arts and Digital Media. 7: 43-59-43-59.
    DOI: 10.1386/padm.7.1.43_1

  • Rodosthenous G (2007) “Billy Elliot The Musical: visual representations of working-class masculinity and the all-singing, all-dancing bo[d]y”, Studies in Musical Theatre. 1: 275-292-275-292.
    DOI: 10.1386/smt.1.3.275_1

Chapters

  • Rodosthenous G (2018) “Fathers and Sons: Ivo van Hove’ "Antigone"”, In: Bennett S; Massai S (eds.) IVO VAN HOVE. UK: Bloomsbury Methuen Drama. (Submitted)

  • Rodosthenous G (2018) “The Absence of Father Figure: Redefining masculinity in contemporary musicals”, In: Sternfeld J; Wollman E (eds.) The Routledge Companion to the Post 1970s American Stage Musical. Routledge. (In preparation)

  • Rodosthenous G (2016) “Mamma Mia! and the aesthetics of the 21st century jukebox musical genre”, In: Gordon R; Jubin O (eds.) The Oxford Handbook of the British Musical. Oxford University Press. (Accepted)

  • Rodosthenous G (2015) “Outlying Islands as Theatre of Voyeurism: Ornithologists, Naked Bodies and the 'Pleasure of Peeping'”, In: Theatre as Voyeurism: The Pleasures of Watching. 211-225
    DOI: 10.1057/9781137478818_11

  • Rodosthenous G (2015) “Introduction: Staring at the forbidden: Legitimizing voyeurism”, In: Theatre as Voyeurism: The Pleasures of Watching. 1-28
    DOI: 10.1057/9781137478818.0005

  • Rodosthenous G (2015) “Outlying islands as theatre of voyeurism: Ornithologists, naked bodies and the ‘pleasure of peeping’”, In: Theatre as Voyeurism: The Pleasures of Watching. 211-225
    DOI: 10.1057/9781137478818.0020

  • Rodosthenous G (2014) “Re-locating the song: Julie Taymor’s "Across the Universe"”, In: Symonds D; Taylor M (eds.) Gestures of Music Theatre: The Performativity of Song and Dance. Oxford University Press.

  • Rodosthenous G (2013) “Dirty Dancing and its jukebox stage dansical adaptation: the dancing male in a teenage female fantasy of desire and sensuality”, In: Tzioumakis Y; Lincoln S (eds.) The Time of Our Lives: Dirty Dancing and Popular Culture. Wayne State University Press.

  • Rodosthenous G (2012) “‘Let’s stop talking about it and just do it’!: Improvisation as the beginning of the compositional process”, In: Roesner D; Rebstock M (eds.) Composed Theatre. University of Chicago Press.

  • Rodosthenous G (2005) “The Dramatic Imagery of "Howl": the [naked] bodies of madness”, In: Warner S (eds.) "Howl for Now". route. 53-72
    Repository URL: http://eprints.whiterose.ac.uk/10352/

Conference papers

  • Rodosthenous G (2012) Music as an organising principle for Theatre. PSI

  • Rodosthenous G (2010) Director as coach: Refining boxing, triathlon and football into physical theatre. KEYNOTE, Visual Physical: Discourses on Sport and Performance Cultures

  • Rodosthenous G (2010) Meta-theatrical visions and surreal bursts of sung choreographed film sequences: Julie Taymor's “Across the Universe”,. International Federation of Theatre Research

  • Rodosthenous G (2009) The body as an [erotic] object on stage: Jan Fabre’s “L'histoire des larmes” and “Orgy of Tolerance”. International Federation of Theatre Research

  • Rodosthenous G (2009) The body as an [erotic] object on stage: Jan Fabre’s “Orgy of Tolerance”.. TaPRA Conference

  • Rodosthenous G (2008) Auteurship as transformation of the ensemble's inter-cultural gap: Jan Fabre’s interconnecting of performing bodies into an embodiment of desire and exposure in “L'histoire des larmes.”. TaPRA Conference

  • Rodosthenous G (2006) "Billy Elliot the Musical": Visual representations of the all singing & dancing bo[d]y. Proceedings: Song, Stage and Screen: Interdisciplinary Approaches to the Musical Stage Conference – University of Portsmouth, April 2006 Song, Stage and Screen: Interdisciplinary Approaches to the Musical Stage Conference – University of Portsmouth, April 2006.

  • Rodosthenous G (2006) Conducting the Body: Sounds and Bodies in a production of George Rodosthenous' adaptation of "Alcestis". Proceedings: International Federation of Theatre Research - Washington D.C., May 2005, "The Changing Body" - University of Exeter, January 2006 International Federation of Theatre Research - Washington D.C., May 2005, "The Changing Body" - University of Exeter, January 2006.

  • Rodosthenous G (2004) Music as Dramaturgical Process: The Organic use of Music in the film "The Talented Mr Ripley". Proceedings: Louis Le Prince Centre Spring Research Seminars 2004 - University of Leeds, May 2004 Louis Le Prince Centre Spring Research Seminars 2004 - University of Leeds, May 2004.

  • Rodosthenous G (2004) Free adaptation of text in creating Music Theatre: Applications of musical interpretation on Rimbaud's "A Season in Hell". Proceedings: New Writing North, University of Newcastle, September 2003 & Beginnings: New Directions in Music Theatre, University of Sheffield, Februrary 2004 New Writing North, University of Newcastle, September 2003 & Beginnings: New Directions in Music Theatre, University of Sheffield, Februrary 2004.

  • Rodosthenous G (2003) The Aural versus the Visual: The Desire of the Greeks, the Cruelty of the French & the disappearing moment of experience in contemporary Music Theatre. Proceedings: SOUNDINGS: innovations in, and reflections on Music Theatre, Rose Bruford College Symposium, May 2003 & IFTR/FIRT Annual Conference - Director in Theatre World, St. Petersburgh, May 2004 SOUNDINGS: innovations in, and reflections on Music Theatre, Rose Bruford College Symposium, May 2003 & IFTR/FIRT Annual Conference - Director in Theatre World, St. Petersburgh, May 2004.

Performances

  • Rodosthenous G The Wife of Heracles. 10 Dec. 2000

  • Rodosthenous G Triathlon. 9 Dec. 2000

  • Rodosthenous G Orestes. 11 Dec. 2000

  • Rodosthenous G Hippolytus. 8 Dec. 2000

  • Rodosthenous G Di-mentia - a new musical. 12 Dec. 2000

  • Rodosthenous G The Speculator. 5 Dec. 2000

  • Rodosthenous G A Season in Hell. 3 Dec. 2000

  • Rodosthenous G Alcestis. 4 Dec. 2000

  • Rodosthenous G Body Faded Blue. 10 Dec. 2000

  • Rodosthenous G Othello's Revenge. 11 Dec. 2000

  • Rodosthenous G The Fall of Icarus. 9 Dec. 2000

Compositions

  • Rodosthenous G (2005) Theatre Music for "The Merchant of Venice" (National Theatre - Cyprus).

  • Rodosthenous G (2004) Theatre Music for "Iron" (ETHAL - Cyprus).

  • Rodosthenous G (2004) Theatre Music for "Orlando" (Persona Theatre Company, Cyprus).

  • Rodosthenous G (2003) Theatre Music for "Little Eyolf" (Theatre Praxis - Cyprus).

  • Rodosthenous G (2002) Theatre Music for "The Mousetrap" (National Theatre - Cyprus).

Research Projects & Grants

Ancient Drama: Influences and Contemporary Approaches ANTIGONE http://www.ancientdrama.gr/en/leeds/antigone/

Electrified the Musical (with Dr Tony Gardner) http://www.electrifyingthecountryhouse.org/domesticating-electricity-the-musical/

Di-mentia The Musical Unesco, Paris http://www.unesco.org/new/en/unesco/events/all-events/?tx_browser_pi1%5BshowUid%5D=7394&cHash=3b58e60fc9

Diffraction the Musical http://www.pci.leeds.ac.uk/events/diffraction/

From Composition to Improvisation http://www.cyprusevents.net/events/from-improvisation-to-composition/

Research Centres & Groups

Co-Convenor International Federation for Theatre Research: Music Theatre Working Group

External Appointments

Co-Convenor International Federation for Theatre Research: Music Theatre Working Group

Editor of Re:Act section of “Studies in Musical Theatre” (Intellect)

Co-Convenor International Federation for Theatre Research: Music Theatre Working Group

Editor of Re-Act section in Studies in Musical Theatre (Intellect)

Editorial Board of Studies in Musical Theatre (Intellect)

External Examiner at Mountview Academy of Theatre Arts: BA (Hons) in Performance-Acting, BA (Hons) in Performance-Musical Theatre, BA (Hons) in Performance–Actor Musician (2013-2017)

External Examiner at University of Wolverhampton: BA(Hons) Musical Theatre (2012-2016)

PhD & Postdoctoral Supervision

Current:

Duncan, Marwick “Revealing Responsiveness”

 

 

Also supervised to completion:

Kathinka, Walter “The visible choreographer: interdisciplinary performance installation work using improvisation and its structuring methods” (practice-based)

Mark, Edward “Temporality of the Performing Body: Movement, Memory, Mesearch” (practice-based)

Christina Wong “Songs from the Underground: The Music and Politics of Toronto’s Subway Musicians” COMPLETED in 2012

Demetris Zavros “Music theatre as music” (practice-based) COMPLETED in 2008

PhD Thesis

Portfolio of Original Musical Compositions and Written Commentary

Professional Practice

As Director

The Truth About Venus (Pafos, July 2017 https://issuu.com/pafos2017/docs/pafos2017_bidbook_2/8)

Women of Troy (University of Leeds, Nov 2016)

Electra (University of Leeds, May 2016)

Narziss (Berlin, Leeds, Munich 2014-5)

Antigone (University of Leeds, May 2013)
Dimentia (UNESCO – Paris, Satiriko Theatre – Cyprus, October 2012)
The Secret Hotel (University of Leeds, March 2012)
Othello’s Revenge 
(Munich/Munster/Berlin, 2011)
Orestes (University of Leeds, March 2011)
Body Faded Blue
(National Theatre of Cyprus THOC, November 2010) BEST DIRECTOR AWARD – Theatrical Organisation of Cyprus Awards 2009-2011
Hippolytus (University of Leeds, December 2008, Paphos Ancient Odeon – Cyprus, July 2010)
The Wife of Heracles (University of Leeds, May 2010)
Triathlon (Pallas Theatre – Cyprus, November 2009)
The Fall of Icarus (Arkadas Theater – Koln, October 2009)
Helen of Troy (University of Leeds, December 2007)
Ajax (University of Leeds, November 2006 / Tour of Cyprus, July 2007)
The Symposium (University of Leeds, March 2007)
The Speculator (University of Leeds, December 2005)
Howl (University of Leeds – Poetry reading, October 2005)
Alcestis (University of Leeds, November 2004)
Flowers for the Lady (West Yorkshire Playhouse – Script in hand, November 2003)
A Season in Hell (Rose Bruford College, West Yorkshire Playhouse, Newcastle Playhouse, Canada, 2003-4)
The Sacrifice (Festival of Contemporary European Plays – University of Huddersfield, March 2002)
Wasted Bodies (Western Campus Theatre – Leeds, November 2001)
Agamemnon (Raven Theatre – Leeds, February 2001)

Music for Theatre (Incidental Music)
Company Along the Mile (West Yorkshire Playhouse – Leeds & UK tour, January 2009)
Helen of Troy (London fringe, September 2008)
A Stranger in the House (Edinburgh Fringe, August 2008)
Carry on Tripping (The Place – London, February 2008)
On/Off (National Theatre – Cyprus, January 2008)
The Sixth Commandment: Thou Shall Not Kill (National Theatre – Greece, March 2007)
Romeo and Juliet (Harlow Playhouse, March 2007)
Laios’ murderer and the crows (National Theatre –  Cyprus, October 2006)
Guy (Pleasance Theatre – London, March 2006)
The Merchant of Venice (National Theatre – Cyprus, November 2005)
Bella and the Beautiful Knight (Edinburgh, August 2005 / UK Tour 2006)
Orlando (Bloomsbury Theatre – London, September 2004 / Cyprus, October 2004 / Athens, September 2005)
Iron (ETHAL – Cyprus, November 2004) – PRIZE FOR BEST THEATRE MUSIC FOR 2003-2005
Alcestis (University of Leeds, November 2004)
Solemn Mass for A Full Moon in Summer (University of Leeds, January 2004)
Little Eyolf (ETHAL – Cyprus, March 2003)
The Mousetrap (National Theatre – Cyprus, December 2002)
Professor Wren’s Goldfish (Underbelly – Edinburgh, August 2002)
Measure for Measure (IFTR World Congress – Amsterdam, July 2002)
Children of a lesser God (National Theatre – Cyprus, November 2001)
Gemini (Scottish Academy – Edinburgh Fringe Festival, August 2001)
The Visions (Workshop Theatre – Leeds, February 2001)
The Gambler (C Venue – Edinburgh Fringe Festival, August 2000)
Dumb Wonderland (Chads Palace – London, June 2000)
Closer (Theatre ENA – Cyprus, February 2000)
The Propsmaster (Meredith Studio – Huddersfield, May 2000)
The Wedding at the Eiffel Tower (Workshop Theatre – Leeds, December 1999)
21 Years old at 6 a.m. (Venue 41 – Edinburgh Fringe Festival, August 1997)
Shelf-life (C Venue – Edinburgh Fringe Festival, August 1997)
Love’s Sacrifice (Wickham Theatre – Bristol, March 1997)

Music theatre works
Composer and Director: A Season in Hell (Image and Imagery Conference: Beauty and the Abject – Brock University Canada, October 2004 / SOUNDINGS: innovations in, and reflections on Music Theatre, Rose Bruford College Symposium, May 2003 and as part of the New Writing Festival at the West Yorkshire Playhouse, June 2003)
Composer/performer and director of a trilogy for actor, percussionist and pianist, based on texts by Steve Sweeney-Turner and Adrian Smith: Aggression (York Contemporary Arts Festival, June 1999 with Sam Grogan), Schizophrenia (Leeds One Act Play Festival, June 2000 and Edinburgh Fringe festival, August 2001 with Oliver Renton). Sensitivity (Leeds LUUTG Theatre Week, October 2000 with Nick Court and Edinburgh Fringe festival, August 2001 with Jonathan Robson). Complete trilogy performed (Cyprus tour invitation by National Theatre – Cyprus, Cyprus Ministry of Education, April 2001 – British premiere at the University of Huddersfield, 30th April 2001) Composer and director of piece for 4 dancers, 3 electric guitars, 2 flutes and percussion: In Stillness Movement (as part LS Two contemporary ensemble installation performance of John Cage’s Variations IV, University of Leeds, March 2000)
Composer/performer of audio-visual work for 5 musicians, dancer and actress: Mosthai (Biennale des Jeunes Artistes des Pays de l’Europe et de la Mediterranée, Il Mattatoio, Rome, June 1999)
Musical Director: Hysteric Studs (Battersea Arts Centre, December 1997)
Original score for the musical: A Stranger in the House (Wickham Theatre – Bristol, 1997)

Music for Film and TV
This Way Up, dir. Sarah Punshon (2008)
Soundtracks of the comic television series Kirie Proedre and Ta Kopelia (SIGMA RADIO TELEVISION Ltd., 2001)
The Day Granddad went blind, dir. Chris Smith – shortlisted for a BAFTA Short Film Award, (screened at the 1999 London Film Festival and other European Film Festivals)
The 10,000th Day, dir. Chris Smith – shortlisted for a BAFTA Short Film Award (screened on HTV, 1999)
Eve, one morning, dir. Adrian Smith – Fuji Film Scholarship nominee (screened in London, 1997)
Music for Uno Minuto Festival, Brazil – commission from Cyprus Broadcasting Corporation (screened San Paolo, 1995)
Music for the video Famagusta, commission from CyBC

Musical compositions
and so they kissed for organ (2001)
Studies in Sensitivity for orchestra (2001)
Elegy and Dance for piano (1998)
The Strait Gate for eleven wind instruments (1998)
Continuity for clarinet, cello and piano (1998)
Prelude and Scena for guitar (1996).
Five not neo-classical pieces for electric piano (1996)
Sonata for double-bass solo (1996)
Piano Toccata (1996)
Ballet-scene for septet (1996)
Diprosopia – concertino for flute and string orchestra (1995)

Other compositions
A Path to the Unknown Space: Tracking through the body… [Dance Performance] (University of Leeds, March 2003)Il ritorno del castrato : La Vendetta [Electronic Music] (Dartington, 2000)
Music for X-Scape MPEG4 EC demonstrator- interactive music video for PACT, Partnership of Advanced Computer Technology (Bristol, 1997)
Music for the Catwalk [Fashion Show] (St Martin’s College of Art and Design,1999)

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Editorial Work

Editorial team for Studies in Musical Theatre (Intellect)

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International Presentations

Conferences papers

• Meta-theatrical visions and surreal bursts of sung choreographed film sequences: Julie Taymor’s “Across the Universe”, (International Federation of Theatre Research – Munich, July 2010)

• Director as coach: Refining boxing, triathlon and football into physical theatre (KEYNOTE, Visual Physical: Discourses on Sport and Performance Cultures – Sheffield, July 2010)

• The body as an [erotic] object on stage: Jan Fabre’s “Orgy of Tolerance”. (presented at TaPRA Conference – Plymouth, September 2009)

• The body as an [erotic] object on stage: Jan Fabre’s “L’histoire des larmes” and “Orgy of Tolerance” (presented at International Federation of Theatre Research, Lisbon, 2009)

• Auteurship as transformation of the ensemble’s inter-cultural gap: Jan Fabre’s interconnecting of performing bodies into an embodiment of desire and exposure in “L’histoire des larmes.” (presented at TaPRA Conference – Leeds, September 2008)

• “Billy Elliot the Musical”: Visual representations of the all singing & dancing bo[d]y (presented at Song, Stage and Screen: Interdisciplinary Approaches to the Musical Stage Conference – University of Portsmouth, April 2006)

• Theatre as Voyeurism: David Greig’s “Outlying Islands” and the pleasures of watching (TaPRA Conference – CSSD, September 2006)

• Conducting the Body: Sounds and Bodies in a production of George Rodosthenous’ adaptation of “Alcestis” (International Federation of Theatre Research – Washington D.C., May 2005, “The Changing Body” – University of Exeter, January 2006)

• Beauty, the Human Body and the Abject: Semiotics and the ephemeral in Rimbaud’s “A Season In Hell” (Image and Imagery Conference: Beauty and the Abject – Brock University Canada, October 2004)

• Music as Dramaturgical Process: The Organic Use of Music in the Film “The Talented Mr Ripley” (Louis Le Prince – University of Leeds, May 2004)

• Free adaptation of text in creating Music Theatre: Applications of musical interpretation on Rimbaud’s “A Season in Hell” (University of Sheffield, February 2004)

• The Aural versus the Visual: The Desire of the Greeks, the Cruelty of the French & the disappearing moment of experience in contemporary Music Theatre (SOUNDINGS: innovations in, and reflections on Music Theatre – Rose Bruford College Symposium, May 2003, International Federation of Theatre Research – St. Petersburg, May 2004)

 

Links

Body Faded Blue (National Theatre of Cyprus THOC, November 2010) http://www.leeds.ac.uk/forstaff/news/article/2867/leeds_success_in_cyprus_theatre_awards
Music Consultancy
Scuffer (West Yorkshire Playhouse – directed by Alex Chisholm, March 2006)

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