Commedia dell’Arte has many different interpretations and incarnations: from Art Deco Pierrot-led romantic ballet, to masked and carnivalesque renaissance bawdy, and sometimes heavily politicised, comedy. It can be quite an uncertain thing to define both onstage and within the classroom.
Editor in Chief
Chris Lawrence
Danny Braverman is a lecturer at Goldsmiths, specialising in TYA, participatory theatre and Disability Theatre.
At this time of national ‘lock down’ during the coronavirus pandemic, when the similarities to prison life resonate most strongly, it is entirely fortuitous that this issue of Drama Research publishes two articles whose focus of study is the use of Drama and Theatre with inmates in prisons: one in the UK and one in the USA.
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April 2020
