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None Of Us Is Yet A Robot
The Book
Seven turbulent years. Five radical performances. One landmark publication.
None of Us is Yet a Robot charts artist and performer Emma Frankland's gender transition against a shifting social and political landscape, while grappling with the systematic erasure of trans history.
Richly illustrated with images from the performances and designed in close collaboration with the author, the book is a new experience in itself as well as a vital document of Emma's groundbreaking work in theatre.
Featuring introductions from foremost theatre practitioners, including Maddy Costa and Travis Alabanza, this collection of work is an evocative exploration of a trans experience in twenty-first century Britain.
'Draws on a vital history of trans performance – an emerging canon that may no longer be ignored.'
Morgan M Page, from her foreword
The Podcast
Palgrave History of Women on Stage
Emma contributed the final chapter to this recent anthology about the history of Women on stages around the word.
This chapter argues for the importance of authentic representations of trans women on stage and explores the use of performance as a tool for political change and as a means of giving voice to an often maligned and marginalised group of women, largely excluded or invisible on stage and in performance. The chapter presents an account of trans women performers past and present, from the ghosts of trans women erased from records of theatrical history to the often- overlooked radical contemporary performances taking place in nightclubs and on the streets around the globe. This analysis contains interviews with trans women including the US actor and cabaret performer Mzz Kimberley and the acclaimed UK playwright Jo Clifford (author of the controversial play Jesus, Queen of Heaven). It also draws on the author’s own award-winning project None of Us is Yet a Robot and rehearsal room discoveries from her collaboration with the Before Shakespeare project on a revival of John Lyly’s trans-positive romantic comedy Galatea. We stand at a critical point of public opinion and censorship where casting practices and mainstream ideology are shifting and where the overt presence of trans women on stages around the world can affect positive change.
If you are interested in reading the chapter please contact Emma