Amy is a PhD candidate in Drama studying contemporary Shakespearean theatre production in London. Her dissertation examines dramaturgical and marketing applications of ‘radicalism’, ‘experimentalism’ and ‘innovation’ in 2010s London-based Shakespearean theatre, and the dialectical tensions these concepts have in operating simultaneously as the artistic model and business model for company branding and advertising. She covers Shakespeare’s Globe and Original Practice, feminism, gender and racial politics in Shakespearean theatrical production (and the practices of increasing diversity onstage), applications and politics of digital technology in Shakespearean theatre, specifically as conducted at the Royal Shakespeare Company, and re-adaptation/re-mediation in Shakespearean performance.
Her areas of expertise and interest include: contemporary Shakespearean performance, UK/US political economy and theatre, digital dramaturgy, theatre as work/labour, motion-capture and XR in theatre, digital Shakespeare pedagogy in HE, 20th century American and European theatre history, historiography, UK queer theatre.
Forthcoming publications as of early 2019:
As co-editor, 'Teaching Shakespeare: International Digital Processes' special issue in Research in Drama Education (RiDE) 25.1 (2020)
Innovating Shakespeare: The Politics of Technological Partnership in the Royal Shakespeare Company’s The Tempest (2016). Humanities 2019, 8, 42. https://doi.org/10.3390/h8010042
'Shakespeare and the Players' (archive review) in Borrowers and Lenders, 12 (2019)
I have taught on DRA115 Cultural Histories of Theatre