John Keefe has worked as a theatre director, performance dramaturge and lecturer in theatre and film since 1979. He has developed projects and material on ‘physical theatre’ and on the role of the performance dramaturg for Mime Action Group/Total Theatre, the Directors Guild of Great Britain and the Dramaturgs Network.
He received his Scottish Diploma in Liberal Studies in 1975, BA (Hons) in Philosophy & Literature (University of Warwick, 1978) and MA in Theatre & Drama Arts (University of Leeds, 1979). He was awarded his PhD by Prior Output in 2013; 'A Spectatorial Dramaturgy: Ethical Principles of Recycling, Habitus and Estrangement'. He is currently a senior lecturer with The Cass at London Metropolitan University.
John has published widely on issues of the ‘new and recycling’ in theatres, the stage body, and the body/embodied mind in relation to the spectator, and is currently working on a new project in these fields.
John Keefe’s research interests centre on ‘physical theatres-the physical in theatres’; the ethical position of the spectator and how the spectator is located in the theatre-film experience; from this ‘spectatorial dramaturgy’, the shaping of the mimetic work and the spectatorial responses by the framework of genetic, cognitive-neurological and material-cultural inheritances that make all humans qualified agents, recycling poachers and nomads; theatre sites and spaces in relation to theatre-spectatorial dramaturgy.
Theatre; film; performance; The ethical position of the spectator; spectatorial dramaturgy. Recycling and reworking ideas and materials in theatres and performance; Qualities of the physical in theatres and performance.
Recent publications include ’The Spectator, The New, and a Disrupting Creative Participation’ in Media Transformations 11 (Vytautas Magnus University: 2015) and (with Simon Murray) 'Physical Theatres: A Critical Introduction, 2nd revised, enlarged edition' (Routledge: 2016). His most recent piece is 'The Shakespearian theatre, techne and the spectator: continuity, change and presence' (Literary London Journal, 14:1, 2017).