From 2010-2014, Michael Pinchbeck created three devised performances inspired by the work of William Shakespeare. The Beginning, an interpretation of A Midsummer Night’s Dream, The Middle, a reconstruction of Hamlet, and The End triggered by a stage direction from The Winter’s Tale, are shown together as The Trilogy. Fusing an experimental approach to Shakespeare’s text with the company’s personal stories about their first or last times onstage, The Trilogy asks the audience to enter a world where a performance can be a rehearsal, text can be both script and set and they are always aware of where the fire exits are. Supported by Arts Council England through the National Lottery, Nottingham Playhouse, Brighton Dome, Lakeside Arts Centre (No...
This article explores a number of perspectives on the creation of very different Shakespeares as per...
The Tempest was probably the last play that Shakespeare wrote alone. It is unlikely that he would co...
Shakespeare wrote words and plays. Words might well be considered to be the ‘life blood’ of a play. ...
This publication is a critical frame for a body of devised work that has toured extensively national...
Inspired by Hamlet, The Middle (2013) is a one-man show devised for a theatre foyer – a liminal spac...
This chapter provides a critical discourse between Jones and Pinchbeck about the making of The Trilo...
Inspired by the stage direction from The Winter’s Tale, ‘Exit pursued by a bear’, The End explores e...
Inspired by A Midsummer Night’s Dream, The Beginning is the second in a trilogy of works deconstruct...
The long and problematic relationship between humans, bears, and spectacle is disinterred and playfu...
Inspired by Hamlet, The Middle (2013) is a one-man show devised for a theatre foyer - a liminal spac...
A provocation by Michael Pinchbeck and Linford Butler, University of Lincoln, given at Where From He...
My thesis examines the production practices of the Propeller Theatre Company, an all-male ensemble u...
Inspired by A Midsummer Night’s Dream, The Beginning is the second in a trilogy of works deconstruct...
This article examines Michael Pinchbeck and Ollie Smith’s theatrical adaptation of A Seventh Man, th...
Pavelka created the Scenographic, set and costume design for a Shakespeare double bill with the all-...
This article explores a number of perspectives on the creation of very different Shakespeares as per...
The Tempest was probably the last play that Shakespeare wrote alone. It is unlikely that he would co...
Shakespeare wrote words and plays. Words might well be considered to be the ‘life blood’ of a play. ...
This publication is a critical frame for a body of devised work that has toured extensively national...
Inspired by Hamlet, The Middle (2013) is a one-man show devised for a theatre foyer – a liminal spac...
This chapter provides a critical discourse between Jones and Pinchbeck about the making of The Trilo...
Inspired by the stage direction from The Winter’s Tale, ‘Exit pursued by a bear’, The End explores e...
Inspired by A Midsummer Night’s Dream, The Beginning is the second in a trilogy of works deconstruct...
The long and problematic relationship between humans, bears, and spectacle is disinterred and playfu...
Inspired by Hamlet, The Middle (2013) is a one-man show devised for a theatre foyer - a liminal spac...
A provocation by Michael Pinchbeck and Linford Butler, University of Lincoln, given at Where From He...
My thesis examines the production practices of the Propeller Theatre Company, an all-male ensemble u...
Inspired by A Midsummer Night’s Dream, The Beginning is the second in a trilogy of works deconstruct...
This article examines Michael Pinchbeck and Ollie Smith’s theatrical adaptation of A Seventh Man, th...
Pavelka created the Scenographic, set and costume design for a Shakespeare double bill with the all-...
This article explores a number of perspectives on the creation of very different Shakespeares as per...
The Tempest was probably the last play that Shakespeare wrote alone. It is unlikely that he would co...
Shakespeare wrote words and plays. Words might well be considered to be the ‘life blood’ of a play. ...