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Dr Verónica Rodriguez Morales

  • Joint Lead with English/Art
  • Welcome Week Coordinator
  • Week 6 Curator
  • Study Abroad Coordinator
  • Library Rep for Theatre
  • Undergraduate Recruitment Team
  • Placements Academic Contact

Areas of interest

My main research interests range from the field of contemporary British theatre and performance (with a focus on the intertwining of ethics, aesthetics and politics, globalisation and spectatorship) to new political forms of theatre, as well as health and illness in theatre and performance practices (particularly women’s health and combining perspectives from the medical humanities and feminism/s), and contemporary theatres in Spanish and Global South Studies.

My book, David Greig’s Holed Theatre: Globalization, Ethics and the Spectator (2019), with a foreword by Dan Rebellato, was published by Palgrave Macmillan and launched at Royal Holloway, University of London in collaboration with the Centre for Contemporary British Theatre. 

I was research assistant for “The Representation of Politics and the Politics of Representation in post-1990 British Theatre”, funded by the Spanish Ministry of Science and Innovation (FFI2009-07598). I was a co-investigator for “Ethical Issues in Contemporary British Theatre since 1989: Globalization, Theatricality, Spectatorship”, funded by the Spanish Ministry of Economy and Competitiveness (FFI2012-31842) and for “British Theatre in the Twenty-First Century: Crisis, Affect, Community”, a four-year research project funded by the Spanish Ministry of Economy and Competitiveness (MINECO) and the EU European Regional Development Fund (FFI2016-75443).

I participated in “Representations of the Precarious in Contemporary British Drama and Theatre”, a one-year (2014) research project funded by the Deutscher Akademischer Austausch Dienst (DAAD; Projekt-ID 57049392). 

My play Bi, about bipolar disorder, was commissioned by the Royal Court Theatre, presented during the Waltham Forest London Borough of Culture 2019, and directed by one of the Royal Court’s Associate Directors Lucy Morrison.

I have participated in other community theatre projects with the Soho Theatre and Theatre Royal Stratford East. I am co-founder of the community theatre company Wild Forest Theatre, based in Waltham Forest, London.

I am a member of the artistic collective of endometriosis sufferers Inner Orchestra.

I deliver playwriting workshops and workshops on women’s health across community and academic settings. Mental health in academic settings and beyond is another important interest. 

In 2019, I attended the “Mellon School of Theatre and Performance: Migrations” at Harvard University (Cambridge, Massachusetts).

I have spoken by invitation, for instance, at the Cambridge Interdisciplinary Performance Network (CIPN) seminar series, at the Centre for Research in the Arts, Social Sciences and Humanities (CRASSH), University of Cambridge and at the Scottish Universities’ International Summer School (SUISS).

I have delivered keynotes lectures too. I have been visiting research fellow at University of Augsburg, University of Winchester, Charles University (Prague), Queen Mary, University of London and Royal Holloway, University of London. 

I previously lectured at University of Barcelona; Canterbury Christ Church University; Royal Holloway, University of London; and Richmond University.

In the Department, I organised the "Relaxed Mondays" talks series on digital theatre and performance in response to the health COVID-19 crisis during the summer term of the academic year 2019/20 and I have a passion for championing inclusion and diversity.

Postgraduate supervision

I welcome enquiries from postgraduate students in any of my areas of interest. 


I (have taught and) teach across a range of practical and critical modules, at all levels, including:

  • FT1ATP Analysing Theatre and Performance (BA Year 1) 
  • FT1CSS Comedy on Stage and Screen (BA Year 1) 
  • FT1DP Devising Performance: Politics and Citizenship (BA Year 1)
  • FT1STP Staging Texts: Playwriting, Design and Performance (BA Year 1)
  • FT2CPD Creative Industries and Professional Development (BA Year 2)
  • FT2PI Performance and Identity (BA Year 2)
  • FT2P2T Practical Project: Theatre (BA Year 2) (Convenor)
  • FT2PL10 Work Placements and Profiles (BA Year 2) (Co-convenor)
  • FT2PL20 Work Placements and Profiles (BA Year 2) (Co-convenor)
  • FT3TC Theatres of Crisis (BA Year 3) (Convenor)
  • FT3IAA Identity, Agency, Advocacy: Diversity and Representation in Film, Television and Theatre (BA Year 3)
  • FT3DISS/FT3JDFA Dissertation (BA Year 3)
  • FT3PL10 Work Placements and Profiles (BA Year 3) (Co-convenor)
  • FT3PL20 Work Placements and Profiles (BA Year 3) (Co-convenor)
  • FTMTTL Transnational Theatre Landscapes: Institutions and Infrastructure (MA Creative Enterprise: Theatre Pathway) (Convenor)
  • FTMPL10 Work Placements and Pathways (MA Creative Enterprise: Theatre Pathway) (Co-convenor)
  • FTMPL20 Work Placements and Pathways (MA Creative Enterprise: Theatre Pathway) (Co-convenor).

Professional bodies/affiliations

Selected publications

  • Rodríguez, V. (2021) "The Sick Body and Spectatorship: Thinking through Endometriosis", in Routledge Companion to Audience and the Performing Arts, eds. Reason, M. et al., (London and New York: Routledge) (forthcoming)
  • Rodríguez, V. (2021) "Posh", The Cambridge Companion to British Playwriting since 1945, eds. Angelaki, V. and Rebellato, D., (Cambridge: Cambridge University Press) (forthcoming)
  • Rodríguez, V. (2020) ‘The Open Constructed Public Sphere: Aeschylus’ The Suppliant Women in a Version by David Greig.’ Special Issue: The Public Place of Drama in Britain, 1968 to the Present Day, ed. Brewer, M. Humanities 9:1: 21, pp. 1–15.
  • Rodríguez, V. (2019) "'Who Would Disagree that in a World of Trump and Putin and Boris Johnson… Brecht Is Not the Theorist and Playwright of Our Times?': Bertolt Brecht’s Influence on David Greig’s Work.’ Journal of Contemporary Drama in English 7:2: 242–58.
  • Rodríguez, V. (2019) David Greig’s Holed Theatre: Globalization, Ethics and the Spectator (Cham: Palgrave Macmillan).
  • Rodríguez, V. (2019) "Confounding as Dismeasure: Value in David Greig’s Theatre." Proceedings of the Conference Theatre as a Value-Based Discourse: Slovak Theatre and Contemporary European Theatre Culture, ed. Knopová, E., (Bratislava: VEDA, Slovak Academy of Sciences), pp. 84–102.
  • Rodríguez, V. (2017) "Bridging Precariousness and Precarity: Ecstasy and Bleeding Across in the Work of David Greig and Suspect Culture", in Of Precariousness: Vulnerabilities, Responsibilities, Communities in 21st-Century British Drama and Theatre, eds. Aragay, M. and Middeke, M., (Berlin/Boston: De Gruyter), pp. 155–70.
  • Rodríguez, V. (2016) "'That Space': Across Text and Performance in Suspect Culture’s One Way Street." Platform: Postgraduate Journal of Theatre Arts 10: 1: 29–52.
  • Rodríguez, V. (2016) "Zāhir and Bātin: An Interview with David Greig." Special Issue: David Greig: Dramaturgies of Encounter and Engagement, ed. Bolton, J. Contemporary Theatre Review, 26: 1, pp. 88–96.
  • Rodríguez, V. (2015) "Ambivalent Borders in David Greig’s Europe (1994)", in De fronteres i arts escèniques, ed. Santamaria, N. with Foguet, F., (Lleida: Punctum), pp. 183–96.
  • Rodríguez, V. (2012) with İnan, D., "Combining the Epic with the Everyday: David Greig’s Dunsinane." International Journal of Scottish Theatre and Screen 5:2: pp. 56–78.
  • Rodríguez, V.(2012) "The 'Polethics' of the Mediated/tized Spectator in the Global-technologized Age: David Greig’s Theatre." Oxímora 1: 1: 53–76.
  • Rodríguez, V. (2012) "Intervention of the 'Sensible' in the Globalized Society: David Greig’s 'Aesthethics' in The American Pilot (2005)." activate 2: 1: pp. 1–16.
  • Rodríguez, V. (2011)  "'Discourses' and 'Counterdiscourses' on Bodies of People Living with HIV/AIDS", in El cuerpo en mente. Versiones del ser desde el pensamiento contemporáneo, eds. Calafell, M. and Pérez, A., (Barcelona: UOC), pp. 417–27.


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