Part of the Main: Dismantling Theatre Practice

November 24th 


£15 Standard/£8 concessions 


Concessions pricing is for jobseekers, students, those who are disabled, on benefits, or anyone else who feels they benefit from a reduced cost ticket.

Workshop sessions will not be recorded, you will automatically be sent a workshop registration link upon booking.



Global Origins is running a workshop on decolonising and diversifying theatre practice. Through this workshop, we will attempt to answer key questions about the future of theatre in the UK, such as: can power structures be dismantled from within? What steps can we take to truly diversify the work we stage? We will identify theatrical hegemonies and explore if we can successfully dismantle structural problems from within, particularly surrounding authorship, casting, venues, financial models, and the influence of the British literary canon on Britain’s global identity. We will discuss and reflect on ways that we as theatre practitioners can make our work more reflective of the UK’s significant diversity: (including but not limited to) reclaiming canonical texts as playwrights, creating more inclusive financial models as theatres or casting performers responsibly.


About Instructors Aneesha & Emma of Global Origins Theatre

Aneesha Srinivasan is a writer and director from Pune, India, who trained on the MFA in Writing for Stage and Broadcast Media at the Royal Central School of Speech and Drama.

Recent credits include Before I Was A Bear at the Bunker Theatre and Grindr Survivr: The Play for the Upsetters. Her writing has been longlisted by the Yard Theatre (2019), Tamasha Playwrights (2018), Pint-Sized (2017, 2018) and Heretic Voices (2017).

She mainly writes (and talks) about postcolonialism, gender, race and language.

Emma Jude Harris is a director, writer, and theatre-maker originally from Los Angeles, California. She trained on the MFA Advanced Theatre Practice at the Royal Central School of Speech and Drama and Soho Theatre Writer’s Lab 2018.

Recent credits include Cabildo (Arcola Theatre), sorry did I wake you (Tristan Bates Theatre) and Ares (VAULT Festival)

She is passionate about early modern theatre, opera, Jewish identity, and responding loudly to good art despite the discomfort of those around her.


Published on:
23 Oct 2020


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