2014
DOI: 10.1080/10486801.2014.946925
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A Controversial Company: Debating the Casting of the RSC’sThe Orphan of Zhao

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Cited by 9 publications
(4 citation statements)
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“…That cultural workers tend to be liberal, pro-welfare and relatively left-wing may not be wholly surprising. The question that follows, then, is the distance between the attitudes and values of the sector's workers and the academic analysis demonstrating bias in reporting or representation, as seen in theatre (Rogers & Thorpe, 2014), and publishing (Ramdarshan Bold, 2019).…”
Section: Resultsmentioning
confidence: 99%
“…That cultural workers tend to be liberal, pro-welfare and relatively left-wing may not be wholly surprising. The question that follows, then, is the distance between the attitudes and values of the sector's workers and the academic analysis demonstrating bias in reporting or representation, as seen in theatre (Rogers & Thorpe, 2014), and publishing (Ramdarshan Bold, 2019).…”
Section: Resultsmentioning
confidence: 99%
“…This understanding of typecasting has been explored by various scholars in theatre and television studies, as a subset of broader casting practices that structure these cultural industries. These authors have largely explored the exclusions that result from routine casting decisions, whether relating to the lack of Black actors in Shakespeare (Rogers 2013), controversies over the casting of East Asians in The Orphan of Zhao (Rogers and Thorpe 2014), the stereotypes faced by British Chinese actors (Knox 2013), or the barriers driving Black British television actors to seek work in America (Knox, Forthcoming).…”
Section: Typecasting Inequality and The Somatic Normmentioning
confidence: 99%
“…5 See, for example, Christopher Balme's now-canonical Decolonizing the Stage: Theatrical Syncretism and Post-Colonial Drama (1999) and also Rustom Bharucha, Theatre and the World: Performance and the Politics of Culture (1993). For differing perspectives on colour-blind, non-traditional and other diverse casting practices, see, for example: Young, 2013;Thomas, 2014;Rogers & Thorpe, 2014;Thompson, 2011;Newman, 1989;Deboo, 1990;andSchultz, 1991. 6 See McDougall, 2002. How might the performance of Māori in Shakespearean productions be seen as ambi-valent: simultaneously challenging and reifying what are still conventional, often virulent, not quite post-colonial, characterisations of the relationship between Māori and Pākehā New Zealanders?…”
Section: Curtain Callmentioning
confidence: 99%