Clean Break Theatre Company

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Caoimhe McAvinchey (Queen Mary University of London) Sarah Bartley (University of Reading)

Clean Break Theatre Company

Caoimhe McAvinchey (Queen Mary University of London), Sarah Bartley (University of Reading), Deborah Dean (University of Warwick) , Anne-marie Greene (University of York)

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English

Cambridge University Press
17 October 2024

Theatre management; Feminism & feminist theory; Crime & criminology

Series: Elements in Women Theatre Makers

Clean Break Theatre Company is a women-only theatre company that grew out of a prisoner-led drama workshop that took place between 1977–1979 in HMP Askham Grange. In addition to its considerable impact on criminalised women and public understandings of the socio-political impact of their experiences, Clean Break has had a significant but under-acknowledged impact on contemporary British theatre. We examine three areas of Clean Break's theatre making history and organisational practices: its origin stories; its education and engagement work; and how the company's performance practices have, across five decades, 'then' and 'now', adapted to directly intervene in carceral society. By highlighting Clean Break's distinct activist theatre making processes and practices, the book makes explicit the genealogical connections of the company's past work and its impacts on contemporary feminist theatre practices.

By: Caoimhe McAvinchey (Queen Mary University of London), Sarah Bartley (University of Reading), Deborah Dean (University of Warwick), Anne-marie Greene (University of York)
Imprint: Cambridge University Press
Country of Publication: United Kingdom
Dimensions: Height: 229mm, Width: 151mm, Spine: 5mm
Weight: 130g
ISBN: 9781009525855
ISBN 10: 1009525859
Series: Elements in Women Theatre Makers
Pages: 82
Publication Date: 17 October 2024
Audience: College/higher education , Further / Higher Education
Format: Paperback
Publisher's Status: Active

Introduction; 1. Origin stories; 2. Education as a practice of endurance; 3. Facts, fictions and narratives of knowing in carceral society; Conclusion; References.