MASTER IN THEATRE Program 2017/2018 www.toneelacademie.nl September > January PHASE 1 | EXPLORATION
The exploration phase is the first phase of the Master in Theatre program which emphasises on organized input on artistic research.
GOALS • The formulation of a precise research question and a concept both contextualizing the theatre project • Development of the theatre project (content and logistics) • Concept for the production dossier At the end of the block the participants organize a presentation of their research questions and artistic projects and their itinerary throughout the exploration phase. Content and organization of the presentation are decided by the partic- ipants. The main focus of this presentation is feedback, it doesn't serve as an official evaluation moment. The seminar series of Peter Peters, Travel Companions, leads up to a final essay that is evaluated by Peter Peters. The meetings with Benoit Vanraes lead up to a first version of the production dossier that is evaluated by him.
COMPONENTS • Travel Companions, a seminar series on artistic research, by Peter Peters • Research Seminars, organized by Ruth Benschop • Nomads, meetings and workshops with artists in their habitat, organized by Bart Van den Eynde • Student Meetings, agenda decided by the participants • Student Curated Days, organized by the students in their 2nd year The program doesn’t want to present a monolithic view on artistic research and artistic practices, but rather a ‘mosaic’ which offers possible connections to the individual research and artistic project. Through these encounters the individual research and project can be contextualised. The participants document this itinerary through the exploration phase.
COACHING
Mentoring Students each have 3 (individual) meetings with Ruth & Bart respectively in the beginning, middle and at the end of the first phase. Ruth also organizes peer-to- peer collective meetings with the participants.
Coaching Workfield Relation with the producing institution, by Jo Roets and Sjef Tilly.
Coaching Production Dossier by Benoit Vanraes
Peer to Peer-Mentoring MASTER IN THEATRE | Program 2017/2018 Program | THEATRE IN MASTER 2 PHASE 1 | CALENDAR Schedule may be subject to changes
Week 1 18 + 19 September 2017 Introduction | Year 1 + 2 Presentation of participants, program and mentors. Peter Peters gives first assignment by email for the Travel Companions seminar.
Week 2 25 + 26 September 2017 Travel Companions (TC) & Research Seminars (RS)
Monday 25/09
(RS) 11:00 – 15:30 Ruth Benschop / On Documentation ...... Toneelacademie Maastricht
(TC) 16:00 – 18:00 Peter Peters / Assignment 1 : Artistic problems ...... Maastricht University
Tuesday 26/09
(RS) 11:00 - 13:00 Romy Finke / If On a Winter’s Night a Traveler... (session 1) ...... Jan van Eyck Academy, photo studio 13:00 – 16:00 Preparations Assignment 2 (TC)
(TC) 16:00 – 18:00 Peter Peters / Assignment 2 : Vincent van Gogh ...... Maastricht University
Week 3 2 + 3 October 2017 NOMAD
Monday 02/10
11:00 – 18:00 Anna Luyten / Artist Writing ...... Gaasbeek (near Brussels)
Tuesday 03/10
11:00 – 18:00 Anna Luyten / Artist Writing ...... Gaasbeek (near Brussels)
Week 4 9 + 10 October 2017 Travel Companions (TC) & Research Seminars (RS)
Monday 09/10 11:00 – 16:00 Pieternel Fleskens / Hubert van Eyck Stichting
(RS) On Commissioning ...... Jan van Eyck Academie, auditorium 16:00 – 18:00 Peter Peters
(TC) Assignment 3 : Presentations on Artistic Problems ...... Maastricht University
(RS) 18:00 – 19:00 Romy Finke / If On a Winter’s Night a Traveler...... Toneelacademie Maastricht, canteen 19:00 – 20:00 Student Meeting with diner
Tuesday 10/10
(RS) 11:00 - 18:00 Ulrike Scholtes / Sensory Knowledge ...... Toneelacademie Maastricht MASTER IN THEATRE | Program 2017/2018 Program | THEATRE IN MASTER 3 = Open for peers and colleagues. Please contact [email protected] if you want to participate. PHASE 1 | CALENDAR
Week 5 16 + 17 October 2017 Travel Companions (TC) & Research Seminars (RS)
Monday 16/10 11:00 – 15:30 Veerle Spronck / Artistic Research in Practice (RS) ...... Toneelacademie Maastricht 16:00 – 18:00 Peter Peters / Assignment 4 : Artistic Context (TC) ...... Maastricht University
Tuesday 17/10 11:00 - 13:00 Romy Finke / If On a Winter’s Night a Traveler... (session 2) (RS) . . . van Eyck Academy, photo studio 13:00 – 16:00 Preparations Assignment 5 (TC) 16:00 – 18:00 Peter Peters / Assignment 5 : Charles Ives (TC) ...... Maastricht University
23 + 24 October 2017 Autumn Break
Week 6 30 + 31 October 2017 Travel Companions (TC) & Research Seminars (RS)
Monday 30/10 11:00 – 15:30 Louis van den Hengel Performing Presence in Theory and Practice (RS) ...... Toneelacademie Maastricht 16:00 - 18:00 Peter Peters / Assignment 6 : Presentations Artistic Context (TC) Maastricht University
Tuesday 31/10 11:00 – 18:00 Ruud Hendriks / The Body doesn’t Lie Some Lessons on Being Human from Clowning in Dementia Care (RS) Toneelacademie Maastricht
Week 7 6 + 7 November 2017 Student Curated Days
Monday 06/11 11:00 - 18:00 Mario Leko / Student (2nd year) Curated Day ...... Toneelacademie Maastricht
Tuesday 07/11 11:00 - 18:00 Greet Vissers / Student (2nd year) Curated Day...... kunstZ, Albrecht Rodenbachstraat 21 ...... Borgerhout, Antwerpen
Week 8 13 + 14 November 2017 Travel Companions (TC) & Research Seminars (RS)
Monday 13/11 11:00 – 15:30 Gili Yaron / Embodied Difference & Source Analysis (RS) ...... Toneelacademie Maastricht 16:00 – 18:00 Peter Peters / Assignment 7 : Methods of Artistic Research (TC) . . Maastricht University MASTER IN THEATRE | Program 2017/2018 Program | THEATRE IN MASTER 4 = Open for peers and colleagues. Please contact [email protected] if you want to participate. PHASE 1 | CALENDAR
18:00 - 19:00 Student Meeting ...... Toneelacademie Maastricht 19:00 Speaker to be decided / Lecture, Terugkomdag ...... Toneelacademie Maastricht
Tuesday 14/11 11:00 – 16:00 Preparations Assignment 8 (TC) 16:00 – 18:00 Peter Peters / Assignment 8 : Christoph Schlingensief (TC) . . . . . Maastricht University
Week 9 20 + 21 November 2017 NOMAD
Monday 20/11 11:00 - 18:00 Around the Theatre Lies the City...... Toneelhuis, Komedieplaats 18, ...... Antwerp, Belgium
Tuesday 21/11 11:00 - 18:00 Around the Theatre Lies the City...... Toneelhuis, Komedieplaats 18, ...... Antwerp, Belgium
Week 10 27 + 28 November 2017 Travel Companions (TC) & Research Seminars (RS) & Production Dossier
Monday 27/11 11:00 – 15:30 Tanja Elstgeest / Production Dossier & Concept ...... Toneelacademie Maastricht 16:00 - 18:00 Peter Peters Assignment 9 : Presentations on Methods of Artistic Research (TC) Maastricht University 18:30 - 20:30 Ruth Benschop / Collective Mentoring Session...... Toneelacademie Maastricht
Tuesday 28/11 11:00 - 16:00 Pieternel Fleskens / Fundraising & Networking with the Master Arts & Heritage of Maastricht University ...... Toneelacademie Maastricht
Week 11 4 + 5 December 2017 NOMAD
Monday 4/12 11:00 - 18:00 POLIS & Poor Pedagogy (Part 1) ...... Toneelacademie Maastricht
Tuesday 5/12 11:00 - 18:00 POLIS & Poor Pedagogy (Part 1) ...... Herdenkingsplein 12, Maastricht MASTER IN THEATRE | Program 2017/2018 Program | THEATRE IN MASTER 5 = Open for peers and colleagues. Please contact [email protected] if you want to participate. PHASE 1 | CALENDAR
Week 12 11 + 12 December 2017 Travel Companions (TC) & Research Seminars (RS)
Monday 11/12 11:00 – 17:00 Karin Hannes / Photovoice ...... KULeuven (Social Science Department) ...... Meeting Room HIVA, Parkstraat 45, Leuven 19:00 – 21:00 Student Meeting
Tuesday 12/12 12:00 – 16:00 Preparations Assignment 11 (TC) 16:00 - 18:00 Peter Peters / Assignment 11 : Rem Koolhaas (TC) ...... Maastricht University
Week 13 18 + 19 December 2017 Travel Companions (TC) & Production Dossier
Monday 18/12 11:00 – 15:30 Tanja Elstgeest / Production Dossier & Concept ...... Toneelacademie Maastricht
Tuesday 19/12 10:00 - 12:00 Ruth Benschop / Collective Mentoring Session ...... Toneelacademie Maastricht 12:30 - 18:00 Mentoring & Preparations of the Presentation (30/01)
Week 14 8 January 2018
Monday 8/01 16:00 - 18:00 Peter Peters / Assignment 11 : Rem Koolhaas (TC) ...... Maastricht University
Week 15 15 January 2018
Monday 15/01 16:00 - 18:00 Peter Peters / Assignment 12 : Presentation Personal Documentation & Publication (TC) ...... Maastricht University
Week 16 29 + 30 January 2018 Closing Days Phase 1
Monday 29/01 11:00 - 18:00 Preparations of the Presentation ...... Toneelacademie Maastricht
Tuesday 30/01 10:00 - 18:00 End Presentation Phase 1 ...... Toneelacademie Maastricht 20:15 Tutorial : The Art of Living...... Chassé Theater, Breda MASTER IN THEATRE | Program 2017/2018 Program | THEATRE IN MASTER 6 = Open for peers and colleagues. Please contact [email protected] if you want to participate. February > June PHASE 2 | INTEGRATION | CALENDAR
Week 17 12 March 2018
Monday 12/03 11:00 - 17:00 Ruth Benschop / Implosion Project ...... Toneelacademie Maastricht 17:00 - 19:00 Ruth Benschop / Diner + Collective Mentoring Session ...... Toneelacademie Maastricht
Week 18 26 + 27 March 2018
Monday 26/03 11:00 - 18:00 Lot Lemm / Needcompany ...... Brussels
Tuesday 27/03 11:00 - 18:00 Lot Lemm / Needcompany ...... Brussels
Week 19 16 April 2018
Monday 16/04 11:00 - 18:00 Jolanda de Groot / Student Curated Day ...... Toneelacademie Maastricht 18:00 - 19:00 Student Meeting
Week 20 23 + 24 April 2018
Monday 23/04 11:00 - 18:00 Peter Missotten / Art for Kurzweil II ...... De Filmfabriek, Hoogstraat 33, ...... Bierbeek, Belgium
Tuesday 24/04 11:00 - 18:00 Peter Missotten / Art for Kurzweil II ...... De Filmfabriek, Hoogstraat 33, ...... Bierbeek, Belgium
Week 21 30 April + 1 May 2018 Monday 30/04 11:00 - 18:00 Bart Van den Eynde / Spatiality Workshop ...... Brussels
Tuesday 01/05 11:00 - 18:00 Bart Van den Eynde / Spatiality Workshop ...... Brussels MASTER IN THEATRE | Program 2017/2018 Program | THEATRE IN MASTER 7 = Open for peers and colleagues. Please contact [email protected] if you want to participate. PHASE 2 | CALENDAR
Week 22 14 + 15 May 2018
Monday 14/05 11:00 - 18:00 Janne de Bruin / Student Curated Day ...... Toneelacademie Maastricht 18:00 - 19:00 Student Meeting
Tuesday 15/05 11:30 - 13:30 Ruth Benschop / Collective Mentoring Session ...... Toneelacademie Maastricht
Week 23 28 + 29 May 2018
Monday 28/05 11:00 - 18:00 Theun Mosk / Light, Space and the Audience...... Theater Vrijthof, Maastricht
Tuesday 29/05 11:00 - 18:00 Theun Mosk / Light, Space and the Audience...... Theater Vrijthof, Maastricht
Week 24 11 June 2018
Monday 11/06 11:00 - 18:00 Akram Sulayman / Student (2nd year) Curated Day ...... Toneelacademie Maastricht 18:00 - 19:00 Student Meeting
Week 25 25 + 26 June 2018
Monday 25/06 11:00 - 18:00 Preparation End Presentation ...... Toneelacademie Maastricht
Tuesday 26/06 11:00 - 18:00 End Presentation Phase 2 ...... Toneelacademie Maastricht MASTER IN THEATRE | Program 2017/2018 Program | THEATRE IN MASTER 8 = Open for peers and colleagues. Please contact [email protected] if you want to participate. WORKSHOPS AND SEMINARS
PETER PETERS Travel Companions Phase 1 Every artist researches to make or perform his or her work. If this research is documented and publicized for the purpose of producing and sharing knowledge, we speak of artistic research. The content of the block aims to teach the student to perform artistic research within his own practice. Four phases are distinguished: formulating artistic problems, mobilizing rel- evant contexts - artistic, theoretical, artistic, institutional - in which these problems can be explored, developing a research method and finally documenting and publishing the research and the research results. Van Gogh, Ives, Schlingensief and Koolhaas are the traveling com- panions accompanying the students during their own research trip.
RUTH BENSCHOP On Documentation 25 September, 11:00 - 15:30 In this workshop, we will work on the question how you can become a sensitive and rigor- ous research instrument. We will discuss the work of ethnographer Stefan Hirschauer who writes about the self-cultivating practice of note-taking. This note-taking allows the artis- tic researcher to become immersed as well as remain strange and thus helps to develop an appropriate language or form to speak about “silence.” The workshop consists of three parts. We start by looking at our own common ways of observing and documenting. Then we will discuss Hirschauers work. Lastly, we will do an observation assignment and discuss our expe- riences.
ROMY FINKE If on a winter’s night a traveler 26 September, 11:00 - 13:00 In these workshops we will focus on the craft of visual close reading. The text (and title of the 17 October, 11:00 - 13:00 workshop) If on a winter’s night a traveler by Italo Calvino serves as a starting point to research the image as source of information, a work of art, a visual entity. We zoom in on the visual output and pay close attention to our own gaze, leaving behind narrative and representation. We also explore photography as means of documentation and an archiving tool.
ANNA LUYTEN Artist Writings 2 + 3 October, 11:00 - 18:00 Artistwritings convey a specific type of knowledge or way of thinking about artistic practice. In this workshop we read several examples and work on our own texts. How can we interweave the practical and the theoretical, how can we find our own form and how can observation, imagination, conceptualisation and analyse go hand in hand.
PIETERNEL FLESKENS Hubert van Eyck - On Commissioning 9 October, 11:00 – 16:00 The workshop will focus on one of the projects that the Hubert van Eyck initiated last year. How does it work? What is the role of ‘the commissioner’ and what is the role of the artist? During this day, we will present a question of a commissioner and invite you to think about an artistic response to a societal issue. Do you feel limited when the starting point of your project is a question from someone else? Or are the limitations helpful for concretising your artistic ideas? MASTER IN THEATRE | Program 2017/2018 Program | THEATRE IN MASTER 9 ULRIKE SCHOLTES Sensory Knowledge 10 October, 11:00 – 18:00 In this workshop we will learn about sensory knowledge by doing sensory knowledge. Through different kinds of exercises that originate in different fields -such as somatics, butoh, mime and meditation- we will sensitize ourselves in different ways. By reflecting on what and how we sense, we work on developing our ability to articulate and to experience subtleties in sensations. Finally, we will explore how feeling individually can be used to foster feeling collectively, where our discussion moves from bodily knowledge, to consider the role of sensitivity in artistic knowledge.
VEERLE SPRONCK Artistic Research in Practice 16 October / 11:00 – 15:30 In this seminar we will explore the practices of two artistic researchers, visual artist Yvonne Dröge Wendel and classical pianist Heloisa Amaral. What work do they do? How and why are the performances and installations they create ‘artistic research’? Together we will reflect on what ways of working these makers use to do their research. Afterwards, we will start prac- ticing artistic research ourselves in an exercise that relates to my own current research about symphonic music. We will experiment with how to research elements such as sound, experi- ence and emotion that are hard to grasp but often play an important role in artistic research.
LOUIS VAN DEN HENGEL Per/forming Presence in Theory and Practice 30 October / 11:00 – 16:00 During this workshop we will explore together how to mobilize critical and creative frame- works for thinking, and re-thinking, “presence” in contemporary theatre and performance. Starting from the assumption that performance is a kind of thinking in its own right, we will investigate different concepts of presence, and accompanying notions such as liveness and mediation, through a combination of experiential exercise, theoretical reflection, and group discussion about the dynamics of presence in your own creative-conceptual practices.
RUUD HENDRIKS « The Body Doesn’t Lie ». Some Lessons on Being Human from 31 October / 11:00 – 18:00 Clowning in Dementia Care. In the workshop I like to explore, together with participants, how clowning in dementia care can teach us things about being human. First, we use the clown’s struggle to study what it means for people to ‘have a body’. Secondly, we use the clown’s view to find out what it could mean for people to be ‘respectful’ to vulnerable people, like people living with dementia. Finally, we will try to connect the clown’s imaginative play (and other forms of ‘make-believe’) with the value of ‘truthfulness’ in our relation with others. Hence, the workshop will consist of three interrelated parts, each focusing on one of these normative aspects of being human. Every part will consist of: (1) a presentation based on my ethnographic field work in dementia care; (2) a hands-on research exercise by participants in a real world situation (incl. documen- tation of findings); (3) presentations and discussion based on participants’ findings.
GILI YARON Embodied Difference & Source Analysis 13 November / 11:00 – 15:30 What does it mean to inhabit a different body - a body that appears, perceives and senses in atypical ways? In this workshop, we will try to answer this question by drawing on vari- ous sources (interviews, scholarly, literary, and popular texts, images,art, and more).These sources will reflect my ongoing interest in the everyday experiences of people who lack part(s) of the face and use a facial prosthetic device. But the students are also warmly encouraged to contribute any (autobiographic) materials that link up with the theme of atypical embodiment. Together, we will develop analyses of embodied experiences of difference, in which academic methodologies meet artistic expressions. MASTER IN THEATRE | Program 2017/2018 Program | THEATRE IN MASTER 10 TONEELHUIS Around the Theatre Lies the City... 20 + 21 November / 11:00 – 18:00 Meetings with dramaturge Erwin Jans, artistic coordinator An-Marie Lambrechts, etc. "But a production comes alive through its interaction, through its audience, and through what is going on outside its own orbit. And around the production lies the theatre and around the theatre lies the city and around the city, as far as we can see, lies the whole world and even the sky and all its stars. The walls that link all these circles together are made of skin, they have pores, they breathe.” (Marianne Van Kerkhoven, 1994)
TANJA ELSTGEEST Production Dossier & Concept 27 November / 11:00 – 16:00 18 December / 11:00 – 15:30
PIETERNEL FLESKENS & Fundraising & Networking ARTS & HERITAGE The workshop will be a shared workshop with the students from de Master Arts & Heritage 28 November / 11:00 – 18:00 (Maastricht University). The starting point of this day is the artistic plan that you developed in October. We will talk about the possibilities of fundraising, the importance of networking and the ways we can avoid pitfalls. Together we will work on a project proposal and an (imaginary) application. We will also discuss whether or not the procedure of fundraising will influence your artistic autonomy.
POLIS Poor Pedagogy 4 + 5 December / 11:00 – 18:00 This four-day-workshop at NOMAD is a meeting of the minds between the master program of 26 + 27 February / 11:00 – 18:00 Theatre at Toneelacademie Maastricht and the POLIS master program of Maastricht Academy of Fine Arts and Design. The POLIS program, supervised by Erik de Jong, bases its course on the consideration that an artist addresses society from their own artistic discourse and disci- pline and questions it by making ‘things’. The artistic practice as a debating laboratory is seen as a strong instrument that can be used to show the intrinsic value of pluriform humanity. The concept of poor pedagogy, coined by Jan Masschelein, will be addressed.
KARIN HANNES Photovoice 11 December / 11:00 – 17:00 Photovoice is a research tool constructed in the field of educational and social sciences. It is a photographic technique with which people take cameras into their community and act as recorders of their own social environment. In this way it acts as a participatory research tool and enables marginalized groups to be voiced. This workshop is a cooperation with KU Leuven social studies, and will host a meeting of the students in the program.
RUTH BENSCHOP Implosion project 12 March / 11:00 –18:00 In this workshop our starting point is a task that Joseph Dumit has developed on the basis of his work with Donna Haraway. It is an assignment that makes researchers sensitive to mate- riality and the heterogeneous ways in which objects are connected to the world in which they and we exist. This assignment helps you open up your research interest. Dumit, Joseph. "Writing the implosion: Teaching the world one thing at a time." Cultural Anthropology 29.2 (2014): 344-362. MASTER IN THEATRE | Program 2017/2018 Program | THEATRE IN MASTER 11 LOT LEMM Scenography; Autonomous Work 26 + 27 March / 11:00 -18:00 and Commissioned Projects The first day Lot Lemm will host the Master Theatre in her studio in the Cité Modèle where she will focus on her personal itinerary as an artist and on her autonomous work . The participants are then invited to play themselves with porcelain, a material Lot has been exploring for more than 10 years. On the second day she invites us in the workspaces of Needcompany. Two recent productions of Needcompany will be on the table:Oorlog en terpentijn and L’Incoronazi- one di Popea (2018).
PETER MISSOTTEN Art for Kurzweil II 23 + 24 April 11:00 – 18:00 It’s not about what we like, it’s about what technology likes: how to entertain the robots of the future? Or is that a depressing thought? Could it be that A.I. will prove to become a much more interested and interesting audience for live art?And are they listening already? In short, what will be the role of technology in future live art?
BART VAN DEN EYNDE Spatiality Workshop 31 April + 1 May / 11:00 -18:00 Spatiality as meaning and social production of space and Scenography as its performative organisation are the two framing devices of this workshop. Brussels will be the location for this spatial and scenographic experiment that combines reading sessions with active experi- ments in the city.
THEUN MOSK Light, Space and the Audience 28 + 29 May / 11:00 - 18:00 Mosk is a set and lighting designer who works in various fields of performance art. His work always contains a strong conceptual idea. He excites a physical relation between the audience and the artistic situation. In this workshop Theun Mosk will focus on light and space in theatre. MASTER IN THEATRE | Program 2017/2018 Program | THEATRE IN MASTER 12 BIOGRAPHIES
Ruth Benschop Simone Aughterlony, Nicola Unger, Rita Vilhena, perfor- Ruth Benschop (Katanning, Australia 1969) is reader at the mancecollectief Urland en Copycats . Research Centre Autonomy and the Public Sphere in the Elstgeest studeerde Kunstgeschiedenis aan de UvA en Arts. She was originally trained as a theoretical psychol- volgde het Curatorial Training Programme van De Appel, ogist at Leiden University and finished her PhD (with waarna ze als curator werkte voor De Appel, Amsterdam; honours) at the University of Groningen in 2001. Her thesis Stedelijk Museum, Amsterdam; de Vleeshal, Middelburg; Unassuming Instruments: How to Trace the Tachisto- Wittte de With, Rotterdam; voor het Hiroshima Museum scope in Experimental Psychology belongs to the field of of Contemporary Art en als producent van een aantal Science and Technology Studies. This interdisciplinary solotentoonstellingen. field researches concrete practices, art practices among them, to raise urgent questions about today’s society. Van 2005-2008 werkte Elstgeest voor muziektheaterge- At Maastricht University, among other projects, she zelschap De Veenfabriek als projectleider beeldende conducted postdoctoral research into sound art and the kunst en zette samen met Frédérique Bergholtz en Annie democratisation of music making. Besides research, she Fletcher If I Can’t Dance… op, een curatorial platform dat has always taught on a variety of themes as well as being zich richt op performance kunst. engaged with the development of education. Elstgeest was medeoprichter van het samenwerkingsver- Two old fascinations brought her to her current workplace band De Coproducers en zet zich in voor het verstevigen at the Faculty of the Arts. Her interest in the rich van de positie van een nieuwe generatie theatermakers in interspace between academic and artistic practices on Nederland. the one hand. On the other, her affinity with the innovative methodological and exploratory opportunities of Romy Finke qualitative, participatory research. As senior researcher Romy Finke (Schaesberg, 1961) works as an autonomous at the research centre, she was already involved in a artist with the medium of photography. She has an educa- variety of research and educational projects practicing tion in textile arts and educates students of the Fine Art with and reflecting on artistic research, community art, Program at the Academie Beeldende Kunsten at Maas- documentation, and ethnography. As reader, she aims tricht. At the Van Eyck Academy she coordinates the Wer- to further develop so called research studios, modules ner Mantz Lab, dedicated to mixed media and time-based combining making and research, inside as well as outside art. Her most recent group exhibition was Paint it Soft at of art education. To do so, she maintains an estranging, Schunck*, in which she interweaves the art of textile with anthropological stance that is foundational for the the art of photography. research centre as such, as well as for the engaged forms of artistic research developed within the centre. Pieternel Fleskens Pieternel Fleskens (1983) works at the Van Eyck, as Head Tanja Elstgeest of the Hubert van Eyck Academy. The Hubert van Eyck Tanja Elstgeest is sinds 2009 zakelijk en artistiek leider Academy was established to connect the Van Eyck to van Productiehuis Rotterdam, nu onderdeel van Theater the educational institutions in its vicinity. The Hubert Rotterdam, waar ze nationale en internationale theater- van Eyck Academie makes substantive contributions to producties produceert en optreedt als co-producent. In research and education; organizes summer courses, haar functie ondersteunt Elstgeest de nieuwe generatie symposiums and master classes; encourages artistic makers en helpt deze een eigen professionele werkom- research and connects the practice of the participants geving op te bouwen om vervolgens te kunnen doorgroe- of the Jan van Eyck Academie with scientific and social ien richting zelfstandigheid. Groepen en theatermakers research. die bij Productiehuis Rotterdam werkten zijn o.a. Schwal- be, Wunderbaum, Sarah Moeremans/Moeremans & Sons, The Hubert van Eyck is collaborating with several uni- Joachim Robbrecht, de Warme Winkel, Michael Laub, versities which have led to new curricula and master MASTER IN THEATRE | Program 2017/2018 Program | THEATRE IN MASTER 13 programmes. In addition, the Hubert van Eyck Academie Lot Lemm initiates and facilitates projects with educational institu- Lot Lemm has worked at Needcompany since 1993. She ini- tions to investigate how art, science and research intertwine tially started as costume designer on various productions and form new ways of thinking and making. Pieternel is also including Le Voyeur (1994), Le Pouvoir (1995), Needcom- appointed as teacher and researcher at Maastricht Univer- pany’s Macbeth (1996), Le Désir (1996), Caligula (1997), The sity and at the Fontys School for Fine and Performing Arts in Snakesong Trilogy (1998), Morning Song (1999), Needcompa- Tilburg. ny’s King Lear (2000), Images of Affection (2002), Goldfish Game (langspeelfilm, 2002), No Comment, Isabella’s Room Karin Hannes (2004) and The Lobster Shop (2006), The Deer House (2008), Karin Hannes is associate professor at the Faculty of Social The art of entertainment (2011), Marketplace 76 (2012) and Sciences, KU Leuven, Belgium. She teaches qualitative Begin the Beguine (2014), all by Jan Lauwers, and All is Vani- research methods and specializes in the development, ty (2006) with Viviane De Muynck. improvement and testing of primary and meta-level quali- tative research techniques and methodologies, applied to When it comes to Grace Ellen Barkey’s productions, her social-cultural practice. She has a strong interest in visual involvement increases with each one. She started as a and arts-based methods research and qualitative evidence costume designer on Tres (1995), Stories (1997), Rood Red synthesis. Rouge (1998) and (AND) (2002). On the productions Few Things(2000), Chunking (2005), The Porcelain Project Ruud Hendriks (2007), This door is too small (for a bear) (2010) and MUSH- Ruud Hendriks (1961) studied health sciences and works at ROOM (2013) and Odd? But True! (2013) she also defines the the Philosophy department in the Faculty of Arts and Social stage setting. Sciences at Maastricht University. He studies artistic proj- In 2004, as a result of their close artistic collaboration, ects pertaining to people suffering from dementia and Par- Grace Ellen Barkey & Lot Lemm set up the Lemm&Barkey kinson’s disease. For his research in the field of dementia label. care, he was trained as a miMakkus clown, which involved learning to make contact with very simple gestures, body Anna Luyten language and mimicry on a ground zero-based experience Anna Luyten teaches Cultural philosophy and criticism or expectation level. at the Toneelacademie Maastricht. She is lecturer ‘Artist Louis van den Hengel Writing’ at the School of Arts Ghent where she also coaches master arts-students. With performer Heike Langsdorf she Louis van den Hengel is Assistant Professor at the De- coordinates at the Hogent the research project “Wandering partment of Literature and Art and the Centre for Gender as a discipline: an investigation of the function of attention and Diversity at the Faculty of Arts and Social Sciences and participation in performance art, art education and of Maastricht University. This workshop on presence is artistwriting.” designed around his research about the interrelations between affect, materiality, and time in contemporary She studied philosophy, applied literary studies and theatre performance art; a special focus in this research is the science. She has interviewed many big names from the art work of Serbian performance artist Marina Abramovic. Van world for Belgian public television and made Human Inter- den Hengel has observed and participated in several of est documentaries for radio and television. As a non-fiction Abramovic’s recent works, including The Artist Is Present writer she worked in the editorial staff of Belgian and Dutch (New York, 2010) and the long-durational performance 512 newspapers as De Standaard, Knack, De Morgen and Vrij Hours (London, 2014). Nederland. She wrote on commission for the Klara Festival an opera-libretto and theatre texts for Theater aan zee and Erik de Jong Kunstenfestivaldesarts. Erik de Jong, born in Delft, lives and works as an artist in She is a core contributor to the “living books programme” Maastricht. He is a researcher at Lectoraat Autonomie & Uitgelezen and a conversational performer in philosophical Openbaarheid in de Kunsten at Hogeschool Zuyd. He co- and artistic programs for public, f.i. the photography pro- founded the open source urban campus - O.S.U.C, He works gram De Donkere kamer Belgium and Brainwash Amster- as a lecturer in fine arts at MAFAS, and coordinates at that dam. faculty the master program POLIS, the learning community. MASTER IN THEATRE | Program 2017/2018 Program | THEATRE IN MASTER 14 Peter Missotten performance art, mime, opera, dance, music-theatre, con- Peter Missotten (°Hasselt 1963) trained as a video artist (one temporary music, installations, exhibition designs, fashion of the students of Chris Dercon at St. Lukas Brussels). He shows and site-specific work. worked all of his life in and around theatre spaces - starting Mosk graduated (2003) at the Theatre school in Amsterdam as a light designer for ‘The Cement Garden’ in 1983. This (technical theatre arts), followed an academic year at the started a long and passionate stage designer relationship Gerrit Rietveld Academy (stage design). After that he at- with Guy Cassiers, which went on and off during some 25 tended workshops of Robert Wilson at the Watermill Center years (‘Wasp Factory’, ‘Sunken Red’, ‘Rage d’Amour’,’ Der in New York. In 2007, he received the Charlotte Köhler Prize Fliegende Holländer’, ‘Onegin’… to name just a few). (incentive prize for young talent). In 2007 and 2011 he was In 1994 he founded de Filmfabriek with Anne Quirynen one of the selected designers for the Prague Quadrennial. and Anne Heyman: A company dealing with the crossover Since his graduation Theun Mosk has been working with between digital and performance arts. They worked inten- director Boukje Schweigman. Schweigman& brings the sively on projects with artists as William Forsythe, Wim audience into a state of mind that opens the senses to Mosk Vandekeybus, Guy Cassiers and Georges Aperghis. Artists and Schweigmans’ amazing and estranging world, and to as Wies Hermans, Bram Smeyers, Kurt d’Haeseleer and Ief the spectator’s own inner world. The audience perspective Spincemaille joined them over the years. always is turned upside down. Their work is shown world- From 2000 on, Peter Missotten evolved slowly from a wide from China, Bolivia, Egypt, Russia, Syria, United-King- designer of digital media art for the stage into a director dom, Belgium to Germany. for performance arts and opera productions. In 2009, Peter Peters he directed the world creation of ‘KEPLER’, an opera by Philip Glass for Linz09 at the Landestheater Linz. In 2010 Dr. Peter Peters is assistant professor in the Philosophy he created ‘MONTEZUMA - FALLENDER ADLER’, an opera Department at FASoS, Maastricht University. He is a sociol- by Bernhard Lang, for the Nationaltheater Mannheim. He ogist by training (with philosophy of science and musicology designed the stage and light concept for quite a few cho- as MA minors), and did his PhD in Science and Technology reographies, by example ‘The New Factory’ by Guilherme Studies. His current research focuses on how knowledge, Miotto and Michael Schumacher for Dansgroep Amsterdam. techniques and craftsmanship are developed in historical He developed a visual, performance based libretto for ‘THE and contemporary practices of organ building. From 2008 GOLEM’, a new opera by Bernhard Lang, which he staged to 2013 he was professor in the research centre ‘Autonomy (direction, video, lights and stage design) for the National- and the Public Sphere in the Arts’ of the arts faculties of theater Mannheim in april 2016. Zuyd University for applied science, Maastricht. Here, he developed research lines on artistic research and its rela- He is a Master in Visual Arts (LUCA School of Arts Brussels) tion to science and technology studies, as well as site-spe- and has a masterclass degree in Cultural Managment (Uni- cific art, art and the public sphere, and community arts. versity of Antwerp) He is review editor of Time & Society (Sage), together with Marli Huijer, and member of the editorial board of Mobilities He teaches performance arts at the Toneelacademie Maas- (Sage). Between 2010 and 2015, he was associate editor of tricht and is professor Technology Driven Art for the Arts the online peer reviewed Journal for Artistic Research. department of Zuyd Hogeschool the Netherlands. Peters is author of Eeuwige Jeugd: Een halve eeuw Sticht- Theun Mosk ing Gaudeamus (Donemus,1995), a history of post-war con- Theun Mosk (1980, The Netherlands) his work is character- temporary music in the Netherlands, and Time, Innovation ized by his strong conceptual ideas, which you can experi- and Mobilities (Routledge, 2006), in which he combines in- ence in his lighting designs and spacious set designs. Mosk sights from social theory and science and technology stud- is distinguished by making the audience very significant ies to analyze technological cultures of travel. In 2013, he in his work. In his designs Mosk strives to create a clear published Klankwerelden. De twintigste eeuw van Reinbert frameworks to manipulate the experience of the audience. de Leeuw (Leiden University Press) and edited Zichtlijnen. In this way the physical experience of the spectator will Hoe kunst publiek wordt (Zuyd Hogeschool), a collection of increase and there’s room for individual interpretation. Over essays on the concept of the public in contemporary arts the years Mosk shows an enormous diversity in his work; practices. He co-authored Rieu. Maestro zonder grenzen MASTER IN THEATRE | Program 2017/2018 Program | THEATRE IN MASTER 15 (De Bezige Bij, 2015) with Maaike Meijer and Jac van den worked with directors (a.o. Ivo van Hove, Guy Cassiers, FC Boogard on the Maastricht based violinist André Rieu and Bergman), choreographers (a.o. Meg Stuart, Arco Renz, his touring orchestra. Lisbeth Gruwez) and playwrights (a.o. Simon Stephens, Peter Verhelst, Judith Herzberg) in Belgium, France, The Neth- Ulrike Scholtes erlands, Germany, Great-Britain, Austria, Portugal and the Ulrike is social scientist at the university of Amsterdam and United States. teacher of movement and body awareness. After finishing He has been a guest teacher at different theatre schools her studies in arts education in Maastricht and Anthropol- in Belgium and the Netherlands. Since 2015 he is program ogy in Amsterdam, she familiarized herself with a number director of the master theatre at the theatre academy in of somatic practices in Europe and Asia - such as somat- Maastricht (Netherlands). He is currently a student again and ic movement, yoga, pilates, butoh dance, mime, Laban he has obtained a degree as social mediator (KULeuven & Movement Analyses and shiatsu. Deriving from this triple KHLeuven) in 2015. background she researches body techniques and practices that both enhance and require sensitivity. Conducting her Ties van de Werff PhD research, she researches how so-called “implicit” ways Ties van de Werff was trained as an interdisciplinary of knowing - such as tacit knowledge, sensitivity, intuition cultural scientist. He tries to understand ethical life in our etc - can be learned and practiced by studying profession- contemporary culture. He does this by exploring different als and their techniques in both therapeutic and performa- practices and forms of encultured ethics, using concepts tive body practices. and methods from the fields of Science & Technology Stud- ies, and (empirical) philosophy. Starting point is the chang- Veerle Spronck ing role and place of ethics in our Western (affluent) society. Veerle Spronck works as PhD researcher in the Philosophy Ethical deliberation is no longer limited to academia, spe- Department at FASoS, Maastricht University. She obtained cial committees, or religious fora (if it ever was). In a society a BA in Art History from the Vrije Universiteit Amsterdam, where continuous (technological) change is the imperative, and graduated cum laude from the MSc Cultures of Arts, reflection on what to do and how to live has become part Science and Technology (Maastricht University) on an and parcel of our daily busyness. We do ethics all the time, ethnographic study of artistic research practices in the everywhere. In this context, ethics is not so much about Netherlands and Flanders. In her current research, she binding rules and regulations. Rather, it’s about meanings, explores the relations between symphonic orchestras and values and virtues – about living well and the good life. The their audiences. Veerle particularly enjoys investigating the question therefore is not only: What is ethically just or per- borders between the arts and empirical Science and Tech- missible? But also and foremost: Where, when, and how are nology Studies, and has a keen interest in ethnographically we able to enact and deliberate the good? understanding and describing artistic practices. In his work, Ties tries to find answers to these questions Bart Van den Eynde by studying the use of emerging technologies, scientific concepts, art works, and design processes. His aim is to Bart Van den Eynde (°1967) has studied medieval history show how ethics is constitutive for these cultural practices, (RUGent & Stendhal II Grenoble) and theatre science (KU- and to encourage and cultivate a responsive attitude and Leuven). From 1991 to 1995 he was staff member at the ethical sensibility among designers, artists, scientists and Flemish Theatre Institute / VTI, a documentation center on engineers. the performing arts. In 1995 he joined the company of Ivo van Hove, Het Zuidelijk Toneel, and became for 5 years the Besides his PhD-research at Maastricht University and his literary manager and production dramaturg of this repertory research at the Arts Faculty Maastricht, he is a member of company based in Eindhoven. From 2001 to 2007 he was the advisory board of Cultuurfonds Strijp-S. Ties loves Ja- associate artistic director of the youth theatre company Lai- maican ska music, and frequently plays classic scorchers ka in Antwerp. In 2009 he became the artistic & pedagogic with the Eindhoven-based collective The Scattered Lights director of Advanced Performance and Scenography Studies a.k.a. The Skat-a-likes. / a.pass, a postgraduate research program on performance and scenography on and off the stage.
Since 2005 he has been working as a freelance dramaturge for international dance and theatre productions. He has MASTER IN THEATRE | Program 2017/2018 Program | THEATRE IN MASTER 16 Gili Yaron I am a philosopher (MA 2009, cum laude) and qualitative researcher (PhD Thesis forthcoming), interested in issues surrounding atypical embodiment, intimate technologies, and normativity. After teaching at the Faculty of Philosophy of the University of Groningen, I went on to pursue a PhD at Maastricht University. My research project ‘Doing Facial Dif- ference: The Lived Experiences of Individuals with Facial Limb Absence’ uses an empirical-philosophical approach to explore what it means to live with a different face. This proj- ect engendered a collaboration with Zuyd’s Research Cen- tre Autonomy and the Public Sphere in the Arts (AOK) and the Maastricht Academy of Fine Arts and Design (MAFAD). In a series of workshops, I worked with students Design to de- velop their artistic research skills while exploring the topic of facial difference and extended embodiment together. I am currently employed as a postdoctoral researcher at the Antoni van Leeuwenhoek Hospital in Amsterdam, dividing my time between projects on the role of patients’ experien- tial knowledges in health care settings, the experiences of people who have undergone a total laryngectomy and use a voice prosthesis, ‘disfigurement’ and enfacement, and the employability of graduated PhDs. MASTER IN THEATRE | Program 2017/2018 Program | THEATRE IN MASTER 17 For more information Bart Van den Eynde [email protected] +31 (0)638073355 www.toneelacademie.nl