Dr Cristina Delgado-García BA, MA, FHEA, PhD

Photograph of Cristina Delgado-García

Department of Drama and Theatre Arts
Lecturer

Contact details

Address
The Old Library (SOVAC)
998 Bristol Road
Birmingham
B29 6LG

I joined the Department of Drama and Theatre Arts in September 2015, after having taught at the University of Leeds, Manchester Metropolitan University and Aberystwyth University. My main research interest is contemporary British theatre and its relationship to political and ethical theory.

Qualifications

I hold two undergraduate degrees from Universitat Autònoma de Barcelona: a BA in Journalism, and a BA in English Philology. I completed a MA in Post-1900s Literatures, Theories and Cultures at the University of Manchester in 2009. Funded by the Department of Theatre, Film and Television Studies at Aberystwyth University, my PhD offered a politically inflected critique of, and alternative to, the alleged death of character in no-longer-dramatic plays. My thesis won the 2014 CDE Prize, awarded by The German Society for Contemporary Drama and Theatre in English. 

In 2017, I completed a Postgraduate Certificate in Academic Practice at the University of Birmingham, awarded with distinction. 

Biography

I joined the University of Birmingham as a Lecturer in Drama in September 2015. Before this appointment, I taught at the University of Leeds, Manchester Metropolitan University, and Aberystwyth University. I have also been guest lecturer/workshop leader at Universitat de Barcelona and Universitat Autònoma de Barcelona. My teaching portfolio comprises areas as diverse as theatre semiotics in practice, introductions to theatre history and performance studies, overviews of 19th and 20th century European theatre, and specialist units on contemporary British and Irish theatre, and community theatre. The relationship between theatre and politics has been central to my teaching in these areas.

My own research specialism is in contemporary British theatre, and its intersection with political and philosophical thought. Part of my current research is supported by the international, externally-funded research project "British Theatre in the Twenty-First Century: Crisis, Affect, Community". For further details on my research, please see Other Activities and Publications.

My performance experiences include participation in Summer. (Salford) and The Reading Room (Manchester Central Library), both by the award-winning theatre company Quarantine.

Outside of academia, I have worked as a writer, producer and newsreader in the radio, and in the organisation of large cultural events.

Teaching

In 2017-18, I teach or contribute to teaching the following modules:

  • Performance: Theory, Practice and Critique (Year 1, convenor)
  • The Dramatic Medium (Year 1)
  • Politics of Performance (Year 2)
  • 21st Century British Theatre: New Writing (Year 3, convenor)
  • European Theatre and Performance, 1960 - present (Year 3, convenor)
  • Practical Project in Drama (Year 3)
  • Extended Essay in Drama (Year 3)

Postgraduate supervision

I currently co-supervise two doctoral projects: Andrew Lennon's research on contemporary iterations of documentary performance, and Charikleia Topa's Practice-as-Research PhD on violence and Otherness in contemporary theatre. 

I welcome informal enquiries from potential applicants with interests in contemporary British/European theatre, and its intersection with politics and philosophy. I am particularly interested in projects concerned with new writing, as well as participatory and delegated performances.

Research

Broadly speaking, my research interests revolve around:

  • Contemporary British theatre, 1990 - present  
  • European theatre and performance practices, particularly in the period since 1960
  • Political theatres, socially engaged artistic practice
  • Theatre and political/ethical philosophy

I am currently occupied with two specific strands of work: on the one hand, my second monograph, on British theatre-maker Tim Crouch; and on the other, a research project entitled "British Theatre in the Twenty-First Century: Crisis, Affect, Community". Led by Prof Mireia Aragay at Universitat de Barcelona, this research project is funded by the Spanish Ministerio of Economía y Competitividad and by FEDER (European Union) between Jan. 2017 and Dec. 2020. For more information, see: http://www.ub.edu/cbtbarcelona/.

Recent research projects

  • “Ethical issues in contemporary British theatre since 1989: globalisation, theatricality, spectatorship”. Principal Investigator: Dr Mireia Aragay (Barcelona). Funded by the Spanish Ministerio de Economía y Competitividad. From Jan. 2013 to July 2016. For more information, see: http://www.ub.edu/cbtbarcelona/
  • “Representations of precariousness in contemporary British theatre”. Principal Investigator: Prof Martin Middeke (Augsburg). Funded by the Deutscher Akademischer Austausch Dienst/German Academic Exchance Service. From Jan. to Dec. 2014.

Other activities

Administrative roles

I am Undergraduate Admissions Tutor for Drama.

Conference organisation

  • “Theatre and Spectatorship”, 24th annual CDE Conference. Universitat de Barcelona, 4-7 June 2015. Part of the organising committee.

Selected conference presentations

  • Delgado-García, Cristina, "The Work of Others: Delegated Performance, the Workers and Their Double”. Keynote presentation. Theatre, Performance & Employment symposium. Queen Mary, University of London. February 2017.
  • Delgado-García, Cristina; Smith, Andy. ‘Politics and Poetics: Dealing with Representation in Contemporary Theatre’. What Happens Now: 21st Century Writing in English. Conservative Politics/Radical Poetics. Lincoln. June 2016.
  • Delgado-García, Cristina. ‘Spectacular Ambivalence: Tim Crouch’s The Author in its Theatrical and Political Context’. IFTR Conference. Presenting the Theatrical Past: Interplays of Artefacts, Discourses and Practices. Stockholm. June 2016.
  • Delgado-García, Cristina. Conversation with Richard Gregory and Renny O’Shea (Quarantine), 24th Annual Conference of the German Society for Contemporary Theatre and Drama in English (CDE). Theatre and Spectatorship. Barcelona. June 2015.
  • Delgado-García, Cristina. ‘“For Something Worthwhile to Happen It’s Simply Not Enough to Wish the Situation Otherwise”: Pessimism, Meta-Theatricality and Spectatorship in Tim Crouch and Andy Smith’s what happens to the hope at the end of the evening and Chris Thorpe’s There Has Possibly Been an Incident’. What Happens Now: 21st Century Writing in English. Lincoln. July 2014.
  • Delgado-García, Cristina. ‘Conceptual Art, Theatre, and ‘the Return of the Repressed’: Rethinking Tim Crouch’s Dramaturgy and Its Politics’. IFTR conference. Re-Routing Performance / Re-Caminant l’Escena. Barcelona. July 2013.
  • Delgado-García, Cristina. ‘Making Time, Undoing Habitus: Equality and Emancipation in Quarantine’s Entitled’. 22nd Annual Conference of the German Society for Contemporary Theatre and Drama in English (CDE). Theatre and Politics: Theatre as Cultural Intervention. Prague. MayJune 2013.
  • Delgado-García, Cristina. ‘“Look at Us. All This Is Art”: Capitalism, Aesthetics and the Invisible Politics of Consent in Tim Crouch’s ENGLAND’. The Viewing of Politics and the Politics of Viewing: Theatre Challenges in the Age of Globalised Communities. Aristotle University, Thessaloniki. April 2013.
  • Delgado-García, Cristina. ‘“Welshness is a State of Mind”: Unmapping Ed Thomas’s Politics’. Provocation. Who Do We Think We Are: Representing the Human symposium. Royal Holloway, University of London. April 2011.

Publications

Monograph

  • Delgado-García, Cristina, Rethinking Character in Contemporary British Theatre: Aesthetics, Politics, Subjectivity, CDE Studies 26 (Berlin and Boston: De Gruyter, 2015).

Book chapters

  • Delgado-García, Cristina, '"We're All in This Together": Reality, Vulnerability and Democratic Representation in Tim Crouch's The Author', in Of Precariousness: Vulnerabilities, Responsibilities, Communities in 21st-Century British Drama and Theatre, ed. by Mireia Aragay and Martin Middeke (Berlin; Boston: De Gruyter, 2017), pp. 91–107.
  • Delgado-García, Cristina, ‘Making Time: The Prefigurative Politics of Quarantine’s Entitled’, in Performances of Capitalism, Crises and Resistance: Inside/Outside Europe, ed. by Marilena Zaroulia and Philip Hager (Basingstoke: Palgrave Macmillan, 2015), pp. 94-112. 

Journal articles

  • Delgado-García, Cristina, ‘“Who Is the Performer and Who Is the Spectator?”: Richard Gregory and Renny O’Shea in Conversation with Cristina Delgado-García’, JCDE 4.1 (2016), 212-226.
  • Delgado-García, Cristina, ‘Dematerialised Political and Theatrical Legacies: Rethinking the Roots and Influences of Tim Crouch’s Work’, Platform: Journal of Theatre and Performing Arts 8.1 (2014), 69-85.
  • Delgado-García, Cristina, ‘Subversion, Refusal, and Contingency: The Transgression of Liberal-Humanist Subjectivity and Characterization in Sarah Kane’s CleansedCrave, and 4.48 Psychosis’, Modern Drama 55.2 (2012), 230-250. 

Reviews, programme notes and other publications

  • Delgado-García, Cristina, ‘Sing without Hope, Tender with Trust’, programme notes for 4.48 Psychosis, opera in one act based on the play by Sarah Kane, comp. Philip Venables, dir. Ted Huffman (London: Lyric Hammersmith, May 2016), pp. 4-7.
  • Delgado-García, Cristina, ‘On Summer’, programme notes for Summer. Autumn. Winter. Spring, by Quarantine, dir. Richard Gregory (Manchester: Old Granada Studios, March-April 2016), pp. 8-10.
  • Delgado-García, Cristina, ‘Looking Backwards, Looking Forwards… A Harvest of Memory’, preview notes for Autumn, by Quarantine, dir. Richard Gregory (Lancaster: Lancaster Arts, October 2015), <http://qtine.com/notebook/looking-backwards-looking-forwards-a-harvest-of-memory/>
  • Delgado-García, Cristina, ‘P is for Podemos’, in ‘Acts of Voting: A Lexicon’, ed. by Marilena Zaroulia and Philip Hager, Interventions 25.2 (2015), <http://www.contemporarytheatrereview.org/2015/acts-of-voting-a-lexicon/>
  • Delgado-García, Cristina, Rev. of Playing with Theory in Theatre Practice, ed. by Megan Alrutz, Julia Listengarten and M. Van Duyn Wood, Performing Ethos 3.1 (2013), 77-79.