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Simon Taylor

Simon Taylor

https://orcid.org/0009-0008-6687-4647

the devil’s work

It used to be that a University Dean could stand before the student body and espouse the view of the University as a check and balance to a well-functioning democracy. He or she could, if the need arose, as it did in the late 1980s, with the threat posed by

is strategic social investment another way of saying charity?

I don’t know. Is freedom just another word for nothing left to lose? From one meeting with a CNZ representative at the Auckland offices and a cursory reading of the Creative New Zealand, Arts Council of New Zealand’s Strategic Development Plan and Statement of Intent 2007-2010, I know

Cf. theatre of terror: insofar as our relationship to capitalism, negotiated by consumer items, involves a similar inflationary principle to that between the mother and infant in Melanie Klein’s ‘theatre of terror’

As Daniel Harris concedes at the beginning of his excellent book on the aesthetics of consumerism, Cute, Quaint, Hungry and Romantic, it is ridiculous to “single out corporations as the source of all that is crude, manipulative, and mercenary in our society, while … whitewash[ing] the consumer as a helpless

Gustave Moreau explains The Life of Humanity (1884-6) to his mum

I have designed a decorative and monumental work as a group of subjects representing the three ages of sacred and profane mythology: the Golden Age, the Silver Age and the Iron Age. I have symbolised these different ages by dividing each one into compositions representing the three phases of the

Cosmopolis and chance meetings: internationalist symbolist avant-garde

Cosmopolis was a magazine published in London and New York, 1896-1898. It had three sections, German, French and English. In May 1897, Cosmopolis printed Stéphane Mallarmé’s poem, “Un Coup de Des,” for the first time. (Available in English translation, with the French, here: http://www.tonykline.co.uk/PITBR/

summary proposal for doctoral research and thesis: a crack in the theatre: T-Cell, practice and theory

A playwright writes texts intended for performance. A director rehearses and, with the help of a company, interprets these texts for the stage. An audience attends performances. A philosopher creates concepts. Theatre possesses a philosophy: it raises the problem of the ideal theatre, the fact that none is, but that

list: no concern to the living unless there move within it the reflection of these things

In 1929, someone named Velona Pilcher wrote wisely in Theatre Arts: “I don’t think it goes too far to declare that a play is no concern of a living playgoer, play-reader, producer, or player unless somewhere within it, or within the art that shall present it, there moves the