Jo Ronan

Abstract

Is collective ownership of theatre rooted in selected models of theatre production or is it the aspiration of some theatre makers yet to be fully actualised?

This research will analyse the concepts of ownership, capital, collectivism, collaboration and vision in relation to the creators of theatre. Marx’s theories on economic capital will be poised against Bourdieu’s theories on cultural capital with a view to postulating new definitions of ownership for theatrical artefacts. What constitutes vision for the theatre maker will be considered alongside Freud’s writings on the super ego and Michael Chekhov’s principle of the higher ego. The study will examine whether collectivism is synonymous with collaboration; vision synonymous with ownership, in the creation of a theatre performance. It will interrogate theatre models in capitalist societies where modes of production suggest that artists are empowered in the creative process, although the companies they work in/for are funded by external agencies.

Profile

Jo’s MPhil/PhD is being funded by the University of the West of Scotland where she is programme leader for the BA (Hons) Performance course. Her theatre work manifests itself in a seamless continuum of the roles of performer, director and teacher. Jo was a teacher of English and Drama, co-founder member and associate director of The Necessary Stage (Singapore), before she settled in Scotland in 1995. She pioneered new writing together with Haresh Sharma in the 80s in Singapore where theatre at the time was still governed by post-colonial norms. At 7:84, Scotland’s foremost political theatre company, she was artistic associate directing productions inspired by the shooting of Jean Charles de Menezes and the 1707 Act of Union. The subject of Jo’s MA dissertation was about radicalising actor training in the UK. She is committed to politicising modes of theatre production and is determined to develop actor training pedagogies that do not polarise practice and theory.

Publications

November 2010 Age, Gender and Performer Employment in Europe, A Performative Response IETM, Glasgow

April 2009 Does Actor Training Breed Artists or Commodities (collaborative research paper with Sean McNamara, Deborah Leveroy and David Dixon, Central Sschool of Speech & Drama, Postgraduate Conference

Productions

Directing: Professional

2008 Eclipse by Haresh Sharma, co-produced by The Necessary Stage, Singapore and 7:84 Theatre Co, Scotland, staged at The Gallery Theatre, Singapore, followed by Scottish schools’ tour

2007 Promenade Theatre, Journey of Faith by Jo Ronan for launch of Scottish Inter-Faith Week at St. Mungo’s Museum, Glasgow

2007 Tale of Naema by Jo Ronan and Anneika Rose, interactive theatre for Scottish conference on domestic abuse, Glasgow

2007 The Algebra of Freedom by Raman Mundair, produced by 7:84 Theatre Co, premiered at the Arches Theatre, Glasgow then toured across Scotland

2007 Re:Union by Nicola McCartney, Selma Dimitrijevic, Haresh Sharma and Linda McLean, produced by 7:84 Theatre Co. premiered at Traverse Theatre, Edinburgh then toured across Scotland

2007 An Evening of Political Song produced by 7:84 Theatre Company at Laurie’s Bar, Glasgow

2006 The Vagina Monologues by Eve Ensler, produced by Eastwood Theatre, East Renfrewshire