51Âþ»­

Alexander has been working as a freelance writer since 2010, he has worked on both small- and large-scale productions from monodramas to full scale musicals. He has written on various topics including mental health, suicide, LGBT+ communities, sexual misconduct and the topic of consent, working in a contemporary and post-dramatic style.

He is currently working as a Performing Arts Lecturer at Nottingham College alongside working on his practice lead PhD thesis at 51Âþ»­ focusing on the interpretation of physical acts of intimacy and sexual behaviour on stage between 2001-2019.

Alexander is also Co-Creative Director of Split Infinitive Theatre Company, working on creating pieces of performance, designed to be intimate and engaging, exploring the relationship between performer and spectator and the relationships we create through our lives. Split Infinitive also offer engaging workshops for schools, colleges and universities looking to offer their students extra insight into specific theatre topics.

He is a member of The Writers’ Guild of Great Britain and The Society of Teachers of Speech and Drama. Alexander has had his work performed at the Stockwell Playhouse’s One Act Play Festival in London and has been acknowledged in The True Acting Institute’s Best Ten Minute Plays of 2019. 

Institute of Drama, Dance and Performance Studies

Contemporary British Theatre and Intimacy on the Contemporary Stage

Contemporary British Theatre and Playwrights

LTCL in Teaching Performance Arts
MA in Drama from the University of Lincoln
BA(Hons) in Drama from the University of Lincoln

PhD title

An examination of the representation of physical acts of intimacy and sexual behaviour in contemporary British theatre from 2013 to 2019

Abstract

This thesis explores the representation of physical acts of intimacy and sexual behaviour in contemporary British theatre from 2013-2019. Using the premier of Phoebe Waller-Bridge’s Fleabag in 2013 and its revival in 2019 as key points in my research, this thesis examines the following questions: 

• To what extent do physical acts of intimacy and sexual behaviour appear within contemporary British theatre between 2013 and 2019 from a realist approach? For what purpose or function do physical acts of intimacy and sexual behaviour appear within contemporary British theatre?
• Has a new approach to addressing and performing physical acts of intimacy and sexual behaviour on stage occurred between 2013 and 2019 and how if so, how does this differ from previous approaches?
• Responding to current practices on stage and how it has developed since the 2017 MeToo movement, how can a production team as a whole, ensure that ethical boundaries are met and maintained, and that consent is observed throughout the entirety of a creative process?

Dr Elinor Parsons, Dr Alissa Clarke, Kate Chapman