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The impact of the research has two elements:
Romeo & Juliet in Performance: collaboration with the organisation Film Education on the production of a DVD-based interactive teaching resource for GCSE English (2013).
Jacobean City Comedy. The editing/adaptation, rehearsing, public performances, and filming of Thomas Middleton's A Mad World, My Masters and John Marston's The Dutch Courtesan (2011 and 2013). The first project has proved a significant teaching resource with more than 1700 schools nationwide already using it in their teaching. The second project entails significant public engagement through performances, workshops and talks, and educational outreach events, while a website further facilitates and tracks on-going discussion between scholars, theatre professionals and the wider public.
Many silent-era films have slipped from public view and lie neglected in archives. Drawing directly on her own research in silent cinema, Judith Buchanan works with arts cinemas, film companies, schools, community groups, festivals, artists and musicians to revivify audiences' access to and experiences of these films. The local, national and international impact of her research is evident in: 1) preservation of silent cinema as an endangered piece of cultural heritage; 2) increased public and commercial availability and visibility of the films; 3) renewed public participation in the films; 4) creative responses to the films prompted by her work; and 5) expansion of university curricula.
The range, quantity and quality of Hispanic theatre production, film exhibition and cultural understanding in the UK has been significantly enhanced by the research on Spanish-language stage and screen cultures by Professor Maria Delgado (at QMUL since 1997). The body of knowledge she has generated has led to significant impact in three key areas: i) opening up public discourse on Hispanic cultures; ii) improving the programming and circulation of Spanish-language theatre and film; and iii) contributing to creative and economic prosperity through consultancy and advocacy in the creative industries in the UK and Spain.
This study focuses on research which has been of benefit to the Educational Shakespeare Company (ESC) and to its various users, both local and international. The ESC is a Belfast charity (XR40787) that deploys drama and film in therapeutic applications with socially excluded groups (prisoners, those on probation, the homeless and youth at risk). In 2006, the ESC produced Mickey B, a film adaptation of Macbeth made in Maghaberry, Northern Ireland's maximum security prison, with a cross-community group of life-prisoners. Research by Burnett and Wray — on Mickey B, the ESC's work more broadly, and the place of independent local filmmaking inside Shakespearean cinema — has had these impacts:
Academics at King's have long been involved in the editing of Shakespeare. Their editions have benefited school students and teachers, general readers, and theatre practitioners. Here we describe the impact which two King's-edited plays have had on theatrical performances and cultural life. Both were published in the Arden Shakespeare series, the general editorship of which has been located at King's for nearly 30 years. Hamlet and King Henry the Eighth, edited by Ann Thompson (co-editor, with Neil Taylor) and Gordon McMullan respectively, were used in major theatrical productions by the RSC in 2009 and Shakespeare's Globe in 2010. Impact is demonstrable in sales figures, directors' statements, viewing figures, and in related media appearances by Thompson and McMullan.
Professor Tiffany Stern's research into 16-18th Century theatre performance has restored a significant element of the cultural heritage to public understanding and has led to the creation of new cultural capital through her influence on present-day theatrical interpretations of Early Modern texts in England and America. She has also influenced the construction and use of theatrical spaces in both countries through her work as a historical advisor to theatre companies and cultural organisations. These direct influences have been supported by educational work with the general public and schools, in the form of lectures, podcasts, and interviews with newspapers and journals.
Dr Nicoleta Cinpoeş's research played an instrumental role in opening up a `cultural space' in Romania for revised public understanding of, and engagement with, Shakespeare's plays, through: (i) dismantling formerly entrenched distinctions, in Romania, between academic scholars' engagement with Shakespeare and the engagement of professional theatre makers and critics; (ii) seeding discussion and consideration amongst theatre makers, young people in formal education and the general public, of recuperation of Shakespeare in Romania through achievement of an uncensored history of appropriation and, within that project, of new, `clean' translations of the plays; (iii) supporting new translations of Shakespeare's plays directly, by providing rigorous, non- specialist, reader-friendly introductions that trace individual plays' stage and textual histories, as well as provide an up-to-date survey of their reception in criticism, stage practice and film adaptation.
Performance brings Shakespeare alive and each performance reveals new contexts for, and meanings to his plays. Research on Shakespeare in Performance is a core departmental activity that encompasses complementary themes and leads to impacts across a wide range of strands and fields. Warwick's Shakespeare scholars have explored the relationship between text and performance to bring a new understanding of Shakespeare to professional theatre companies and a renewed enjoyment to public audiences. In particular, their research has impacted on theatre productions, exhibitions, and public understanding through screenings, workshops, talks, young people's theatre and schools.
The 19th century essayist William Hazlitt is a great, but neglected, master of English prose. Uttara Natarajan's research into his writings is a major factor in the revival of public interest of his multi-faceted achievement. She has led public discussions of his works and life at the Hazlitt Society and Hazlitt Day School, both of which she co-founded. In 2008, she launched the annual Hazlitt Review which reaches a wide general readership and academics. Her study has led to a range of invited public engagements, such as speaking on BBC Radio 4's In Our Time-William Hazlitt programme and delivering various public lectures.
Great Writers Inspire (www.writersinspire.org) is a JISC funded project designed by Smith, Williams and Beasley in collaboration with IT services to expand the Oxford English Faculty's open educational resources on the web. Prompted by the success of Smith's Approaching Shakespeare podcast lectures (2010), GWI represents a systematic approach to creating, gathering and curating online research content targeted directly at students and teachers in secondary schools, further education, lifelong learning, and universities. Combining tailor-made podcasts, curated eBooks, audio talks, video files, and scholarly essays, GWI and AS have brought the Faculty's research to a global audience of over 740,000.