Alison Bomber, voice coach, tells us about making the 'right noise', using breath and vibration to make connections between sounds, bodies and imagination. You'll never think about inspiration in the same way again.

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Ian Burrows chats to Emma Whipday about slapstick, so-called ‘snowflake’ students, and content warnings for ShakespeareIan works on early modern drama, and is particularly interested in how actors' physicality was presented and interpreted on stage and

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Nick Radford is the poet laureate of pro wrestling, and tells us about how he uses the writing and reading literature in his matches. He explores the crossovers between wrestling and eroticism and reflects on the changes in professional wrestling over the

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Who were the important Cavendish family? Lisa Hopkins and Tom Rutter talk about their new volume on the family's extraordinary cultural innovation and social importance, in particular women's "right to write" and the many different forms of media covered

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Suzannah Lipscomb talks to Andy Kesson about working between the worlds of research and TV, the Tudor court, a French Protestant community of women, and why academics should be more like upside-down swans.

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Sophie Reynolds from Jane Austen's House chats to Emma Whipday about Jane Austen's life, why her heroines are always searching for a home, the miraculous survival of the house where she was finally able to finish her novels - and the mysterious circumsta

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Box Office Bears: Animal-Baiting in Early Modern England is a new Arts and Humanities Research Council-funded project that begins today. In our first film for the project, its lead researchers - Hannah O'Regan, Greger Larson and Andy Kesson - have a preli

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Ambereen Dadabhoy tells us about the early modern Mediterranean, the English playhouse and the history of race. We hear about the lack of racial literacy in early modern studies, the way 'a white way of knowing' has dominated scholarship, and how to 'foll

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Marc Elliott tells us about acting as a kind of ‘pretending to be lots of different people’, and how TV acting can often feel just as live as in the theatre. We hear about the surprising similarities between modern TV script learning and repertory system

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Eleanor Janega tells us about medieval European sex positivity, Black Death and revolution, and argues that the fourteenth century was ‘the best century’.

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