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It’s a bird, it’s a plane, it’s theatre: Defining the ill-defined

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It has been 93 years since the first performance of Bertolt Brecht’s The Good Person of Szechwan at Schauspielhaus in Zurich. Many critics cite Brecht as the pioneer of the genre of ‘epic theatre’ – that is, a theatre which tells, instead of shows. The protagonist Shen Te frequently changes costumes in front of the audience to become her alter ego, Shui Ta; characters address the audience, changing the set mid-scene. Anthony Lau’s 2023 production featured giant frogs and saw characters entering the stage via a slide. Brecht’s theatre seeks to constantly remind the audience of where they are: in a theatre, watching a play, and not immersed in a mock-realistic depiction of the world. It rewrote the rules of what theatre had been up until that point (in the western world, at least). In 2026, both nothing and everything has changed: theatre continues to constantly re-write and re-perform itself, and thus evades any kind of all-encompassing definition. 

A few years ago, donned in a light rain jacket and battered walking boots, I stood amongst a captivated crowd at Green Man Festival, watching Kae Tempest perform from his album The Line is a Curve. Their powerful, spoken-word performance both shook me to the core and rooted me to the spot. It bothered me. It was like nothing I’d ever encountered before – which perhaps reveals my somewhat sheltered view of the musical scene – but it got me thinking about the lines we draw around performance, the role of the audience, the simple idea of telling something to someone, and when this becomes theatre. 

As a serial user of etymology websites, I did what I do best and looked up the origins of the word, discovering that it comes from the Greek theatron, which literally translates as ‘a place for looking’. This piqued my curiosity. To all intents and purposes, a discussion of Kae Tempest’s The Line is a Curve should be in the Music section of Culture – right? Tempest has been nominated twice for the Mercury Music Prize, as well as receiving a nomination at the 2018 Brit Awards for Best Female Solo Performer. Then again, he was also named a Next Generation Poet by the Poetry Book Society… so perhaps Books?

This impulse to categorise Tempest’s work was, inevitably, what was holding me back from fully enjoying the experience. Since that year at Green Man Festival, I’ve (somewhat) expanded the horizons of my theatrical experience and, each time, I’ve been confronted again and again with the same question of categorisation – by stand-up comedians, by drag artists, by the chorus in the Greek play I saw in my first year at Oxford. They are all connected by one fact – there was an audience, and there was a performer. 

If theatre is, at its most basic level, ‘a place for looking’, then every iteration of it that I’ve mentioned ticks that box. But not all looking is the same, and this is what Brecht grappled with. 

Among other things, he wanted to reject the kind of looking which is passive, which gives way to complete immersion, and, as such, does not incite the audience to action. His refusal of a ‘passive’ theatre can be seen everywhere. In a form like stand-up, the audience takes an active role, with their reaction shaping the performance in real time. Even something as simple as asking a member of the audience where they’re from, or what they do, can completely derail the show – as I discovered at a recent Mike Rice gig in Oxford, where a particularly buffed guy in the front row (think somewhere between a gym regular and Jacob Elordi’s hulking, reticent Heathcliff) became the butt of a plethora of jokes – and it’s up to the comedian to decide whether they want to detach or reroute, integrating the new material into their set. Or, the audience can be directly involved in a production itself, with aspects like karaoke and PowerPoint being employed to extract a storyline from those who are, in traditional terms, supposed to be just ‘looking’.

Oxford itself is a place full of performances which blur the boundaries of simply looking. Think of the Oxford Medieval Mystery Plays at St Edmund Hall, where last April, for the fourth year running, multiple locations around the college hosted a series of biblical plays in various medieval languages. The setting was often intimate, with audience members seated on the grass, or simply wandering in and stopping to look, even joining in at points. The idea of a fixed theatre is unsettled, and it becomes less a location than a series of encounters. Improv shows like Austentatious (which returns to the New Theatre this May) are driven by the audience, who submit a novel title which the cast then begin to perform. Student theatre often uses seemingly unconventional spaces, like college bars, gardens, and chapels, to perform experimental pieces.

If theatre seems to resist definition, then it is not because it lacks one, but because its definition is deceptively simple. The ‘place for looking’ embedded in the word itself is never neutral – it can be passive, it can be an environment where empathy is built; detached or participatory, fixed or constantly shifting, it always demands that an audience bears witness to a moment in time, it demands that they do not look away. From Brecht’s insistence on a self-aware audience in his innovation of epic theatre, to Kae Tempest’s genre-defying performances, to the improvised and experimental work which fills Oxford’s stages and spaces, theatre emerges where people gather. Perhaps the question to ask is not what ‘counts’ as theatre, but where and how we choose to look.

The post It’s a bird, it’s a plane, it’s theatre: Defining the ill-defined appeared first on Cherwell.



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St Edmund Hall unveils new eco-friendly accommodation 

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St Edmund Hall has opened new, sustainability-focused accommodation in Norham Gardens, one of Oxford’s most affluent neighbourhoods.

 The College describes the buildings, which took three years to construct, as an “exemplar” of sustainability. Designed by architects Wright & Wright LLP, they are certified with a Passivhaus standard, widely regarded as the industry benchmark for energy efficiency, and were built using “sustainably sourced and low-embodied carbon materials”. According to a press release on the Teddy Hall website, the buildings will use 70% less energy than the typical modern building. 

It contains 127 en-suite study rooms, split across three new buildings: Willis House, Ashton House, and Elliott House, on the nearly 50-year-old Norham St Edmund site. The buildings, which back onto University Parks, are powered at least in part by solar panels and are heated by air-source heat pumps. 

The rooms include heated towel racks, big double beds, and dimmable lights. Despite the luxury, the College kept the nightly rate in line with the rest of its Norham housing. The College told Cherwell that it “recognises the need to keep rents as low as possible” and that its accommodation costs are “below the median of all Oxford colleges”. By that standard, tenants are expected to pay around £30 a night. 

Rooms on the site will be reserved for Teddy Hall returning undergraduates. They will not be available to postgraduates and, by extension, not be offered through the Oxford University Collegiate Accommodation System, now in its second year of opening college rooms to students from other colleges. The accommodation will allow Teddy Hall to accommodate all undergraduates for their whole degree. 

The development’s outdoor spaces are boasted as climate-resilient and biodiverse, with landscaped gardens and lawns. For budding geographers and biologists, the most intriguing feature may be an ecology pond. 

Chancellor William Hague said in a press release: “Norham St Edmund is a world-leading blueprint for future student accommodation projects and sustainable building design, both in Oxford and beyond. I look forward to seeing it serve a thriving college community for generations to come.



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Summit calls for human rights safeguards on AI

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Human rights experts called for stronger legal protections against the risks posed by artificial intelligence (AI) at an Oxford AI and Human Rights Summit, with speakers arguing that human rights standards must be embedded into AI governance and technology. 

The summit was hosted at the newly redeveloped Rhodes House in Oxford and organised by the Institute for Ethics in AI. It built upon Professor Yuval Shany’s consultation on a white paper, published in 2025, on the need for and feasibility of an international AI Bill of Human Rights, which proposes ways to adapt existing human rights standards so as to better address some of the unique challenges posed by AI systems and their uses. 

An opening video address from the United Nations High Commissioner for Human Rights Volker Türk outlined how AI policy can keep pace with a fast-developing technology. He said that “great power demands responsibility on the same scale, and when the two don’t match, we have a problem”. Corporate control, he explained, means that AI policy stretches beyond existing national borders. He continued to praise this summit for bringing together leaders and representatives at the forefront of the discussion.

 Speakers called on the UK government to establish legislation, recalling Labour’s manifesto commitment to an AI Bill of Human Rights. The panellists broadly agreed on the importance of human rights, but appeared less aligned on what enforcement should look like in practice.

 In an exclusive interview, Michael O’Flaherty, the Council of Europe’s Commissioner for Human Rights, told Cherwell that political short-termism Continued on pg. 2 risks undermining efforts to address the long-term consequences of AI. “We are infected across our societies with shorttermist responses to the great issue of our societies and politics,” he said, adding that electoral cycles make it difficult for politicians “to think beyond the next election”. 

O’Flaherty also noted that younger generations no longer take the international human rights system for granted. “There is no longer an assumption that the human rights system is safe, that it will survive,” he told Cherwell. He argued that political leaders increasingly treat human rights selectively, saying: “Increasingly, leaders are treating human rights, if they are respected at all, as an a la carte buffet. We take those rights because they serve our goal. We’ll ignore others because they get in the way.

The summit also heard concerns about the effects of AI-generated misinformation on communities that may have limited access to, or awareness of, the technology itself. An audience question asked human rights experts to consider the impacts of AI on populations, such as those in India, who might be unaware of its existence. The focus on the impact of AI on populations in developing countries more vulnerable to the power of big tech was a key theme of the summit. 

Eileen Carter from the South African Human Rights Commission warned that underrepresentation of African languages in large language models could exacerbate existing inequalities. She also raised concerns about the effects of misinformation and deepfakes on elections, referring to more than 360 deaths associated with unrest and the amplification of narratives. 

The third panel, which offered a civil society perspective on promoting human rights in AI systems, offered some hope. Across all speakers, the potential for AI to transform the beliefs that underpin human rights, including the rights to water, education, and an interpreter, was debated. When asked about AI’s potential to unravel and alter the definition of human rights, such as what is included in the ‘right to education’ O’Flaherty told Cherwell: “The damage that can be done by AI has hit more dramatically and more visibly than perhaps any other sector within education through the phenomenon of cognitive loss, of cognitive transfer. We’re only beginning to realise the extent to which we have allowed education to be fundamentally undermined for an entire generation. 

“It’s time to seize that now and engage it. I’m not sure that the classic understanding of the human right to education is particularly well-framed for this extraordinary development.”

 In a discussion on different countries’ regulatory approach to AI, Suresh Venkatasubramanian, professor at Brown University and former AI advisor to US President Joe Biden, argued that AI systems should not be treated as inevitable developments beyond human control. “We continue, I think, to talk about AI as a thing that emerged out of nowhere that we just have to deal with,” he said. “We forget that these aren’t coming from an alien planet and they were built by entities that choose to build them in a certain way.” He called for pressure on technology companies to make different choices about how AI systems are developed. 

Questions of accountability also emerged during discussions about AI’s potential to improve access to justice. Research presented by Philippa Webb said that only 10% of people who have access to a lawyer can get one while there are thousands of bookings for an interpreter in a court covering 150 languages. However, this progress is not cemented as “general-purpose chatbots hallucinate 58% of the time on a legal task”. The use of AI in moderating legal proceedings raised fundamental questions about humanity and authority. Thompson Chengeta from Liverpool John Moores University said that “human rights is the last line of defence so when we say we want a human rights based governance… human rights is not an idea, it is an obligation. There is a gap that can only be recovered by a legally binding instrument”.

The event culminated in a panel offering an industry perspective. Co-host Dr Caroline Emmer De Albuquerque Green questioned representatives from Meta, Google, Microsoft, and OpenAI. Michael Karimian, who works in digital diplomacy at Microsoft, discussed the role of private sectors in engaging with AI, defining corporate responsibility as something which “provides transparency and identified risks”. 

All companies supported having formal programmes to ensure that they have an AI policy in place. Within their own companies, they suggested protective measures such as specialised training to ensure that policies, such as whistleblowing, are understood. Alexandria Walden from Google described how consultations with stakeholders could be used to identify when the product breached users’ boundaries. These assessments, according to OpenAI’s spokesperson, “feedback into tangible technical input” and “benchmark it”.

Fundamentally, understanding the rationale behind human rights is imperative, though lacking. Alexandria Walden from Google said: “Whether or not they understand human rights, they care enough to infuse it in their company… we might not always get it right, but it is something we care about.” 

Where former panels discussed controls to ensure human rights are considered in the development and implementation of AI products, this panel focused on mitigation. A spokesperson from Google pointed out that technology is inevitably going to move faster, so multiple tools are needed. Companies, OpenAI’s representative noted, still encounter issues such as discrimination and free speech. Consequently, they regard this as an additional policy which companies have a structured model to deal with, but newer companies, and newer industries, haven’t learnt it yet. 

In her concluding remarks, Green called for policy makers to “make the abstract actionable” at both governmental and corporate levels. She argued that, by framing the issues posed by AI as human rights issues, we gain a “foundation” for recognising AI’s many societal impacts.



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Oxford University launches Ebola vaccine trial in Uganda

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Ugandan participants in a clinical safety study received an Oxford developed Ebola vaccine this week. 

Researchers vaccinated the first participants on 6th October in Masaka, Uganda. The phase follows the launch of a first-in-human Phase I trial in the UK evaluating the same vaccine candidate. 

They received the vaccine as part of an evaluation of the safety and efficacy of a ChAdOx-based Bundibugyo Ebola vaccine candidate developed by the Oxford Vaccine Group (OVG) and the Pandemic Sciences Institute at the University of Oxford. 

Development for this vaccine began in May this year in response to the ongoing Ebola outbreak in the Democratic Republic of the Congo (DRC). The research, led by OVG’s Professor Teresa Lambe and Professor Simon Drysdale, is funded by the Coalition for Epidemic Preparedness Innovations (CEPI). No licenced vaccine for the Bundibugyo strain of Ebola virus currently exists. 

In a statement to Cherwell, OVG said its involvement includes collaborating with the Ugandan research team to support “the study’s scientific design, clinical trial coordination, safety oversight, and evaluation of vaccine safety and immunogenicity”. The Phase I clinical trial addresses a rare strain of Ebola virus affecting communities in the DRC since May. The phase is a collaboration between the Medical Research Council/ Uganda Virus Research Institute and the London School of Hygiene and Tropical Medicine (LSHTM). 

Dr Nicole Lurie, CEPI’s Executive Director for Emergency Preparedness and Response, told Cherwell: “It [the Bundibugyo outbreak] remains the fastest-growing and second-largest Ebola outbreak ever recorded – and we currently remain without a licensed vaccine or treatment.” The Bundibugyo Ebola epidemic in the DRC has surpassed 8,600 cases, with almost half of infections proving fatal. 

The outbreak was declared a Public Health Emergency of International Concern (PHEIC) by the World Health Organisation (WHO) in May. 

OVG told Cherwell: “For more than a decade, the University of Oxford has performed many clinical trials of candidate viral-vectored vaccines. Some of the most promising vaccines used a modified chimpanzee adenovirus, a harmless version of a common cold virus. The Oxford-AstraZeneca (ChAdOx1) COVID-19 vaccine was approved for emergency use in the UK in December 2020 and was estimated to have saved six million lives during 2021 alone, and over 3 billion doses were used worldwide.” The adenovirus vector vaccine technology trialled in this study was successfully used worldwide as part of the Oxford-AstraZeneca COVID-19 vaccine. 

More funding is necessary to ensure the development and approval of the Ebola vaccine. Lurie told Cherwell: “Without sufficient additional funding, we are at risk of not being able to develop these promising vaccine candidates… CEPI urgently needs US$128M now to keep our Bundibugyo emergency R&D response moving. Without it, we are putting the DRC, and the world, at tremendous risk.”



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