14, 2016 Delegates by Region
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98Th ISPA Congress Melbourne Australia May 30 – June 4, 2016 Reimagining Contents
98th ISPA Congress MELBOURNE AUSTRALIA MAY 30 – JUNE 4, 2016 REIMAGINING CONTENTS ACKNOWLEDGEMENT OF PEOPLE & COUNTRY 2 MESSAGE FROM THE MINISTER FOR CREATIVE INDUSTRIES, 3 STATE GOVERNMENT OF VICTORIA MESSAGE FROM THE CHIEF EXECUTIVE OFFICER, ARTS CENTRE MELBOURNE 4 MESSAGE FROM THE DIRECTOR OF PROGRAMMING, ARTS CENTRE MELBOURNE 5 MESSAGE FROM THE CHAIR, INTERNATIONAL SOCIETY FOR THE PERFORMING ARTS (ISPA) 6 MESSAGE FROM THE CHIEF EXECUTIVE OFFICER, INTERNATIONAL SOCIETY FOR THE PERFORMING ARTS (ISPA) 7 LET THE COUNTDOWN BEGIN: A SHORT HISTORY OF ISPA 8 MELBOURNE, AUSTRALIA 10 CONGRESS VENUES 11 TRANSPORT 12 PRACTICAL INFORMATION 13 ISPA UP LATE 14 WHERE TO EAT & DRINK 15 ARTS CENTRE MELBOURNE 16 THE ANTHONY FIELD ACADEMY SCHEDULE OF EVENTS 18 THE ANTHONY FIELD ACADEMY SPEAKERS 22 CONGRESS SCHEDULE OF EVENTS 28 CONGRESS PERFORMANCES 37 CONGRESS AWARD WINNERS 42 CONGRESS SESSION SPEAKERS & MODERATORS 44 THE ISPA FELLOWSHIP CHALLENGE 56 2016 FELLOWSHIP PROGRAMS 57 ISPA FELLOWSHIP RECIPIENTS 58 ISPA STAR MEMBERS 59 ISPA OUT ON THE TOWN SCHEDULE 60 SPONSOR ACKNOWLEDGEMENTS 66 ISPA CREDITS 67 ARTS CENTRE MELBOURNE CREDITS 68 We are committed to ensuring that everyone has the opportunity to become immersed in ISPA Melbourne. To help us make the most of your experience, please ask us about Access during the Congress. Cover image and all REIMAGINING images from Chunky Move’s AORTA (2013) / Photo: Jeff Busby ACKNOWLEDGEMENT OF PEOPLE MESSAGE FROM THE MINISTER FOR & COUNTRY CREATIVE INDUSTRIES, Arts Centre Melbourne respectfully acknowledges STATE GOVERNMENT OF VICTORIA the traditional owners and custodians of the land on Whether you’ve come from near or far, I welcome all which the 98th International Society for the Performing delegates to the 2016 ISPA Congress, to Australia’s Arts (ISPA) Congress is held, the Wurundjeri and creative state and to the world’s most liveable city. -
Vanishing Point Shian
Presented by Arts House as part of Dance Massive Vanishing Point A Shian Law Image: James Wright H S Tue 14 – Sat 18 Mar, 8.45pm 60 mins 1 artshouse.com.au Creative Team Artist Statement Shian Law Benjamin Hurley A séance In a society that would have this Choreographer Understudy Phillip Adams Cam Mclachlan Creating the history mean nothing, there is something Collaborating Assistant Calling the never-born work from essential about the work that was Choreographer Alison Halit the grave, never quite made never made Deanne Butterworth Producer Collaborating Sheridan Gerrald, Living a life of purgatory along the The work being made as we speak Choreographer Thomas Woodman, margin of marginal dance histories Which is to say the work that cannot Jo Lloyd Benjamin Hurley, Milo in Australia be known before it is made, may be Collaborating Hyde, Cam McLachlan, Choreographer/ Luke Fryer, Ellen Davies, At the same time central, crucial never made Dramaturg Emma Riches, Mossy (The only ones, perhaps) But is wished for Matthew Adey Pebbles Though there are always margins to A work whose future is not known, Set & Lighting Designer Performers for James Wright Performance Lecture: the margins and history is kind to no but which we must nonetheless Video Artist/ Grey Area, FUCKDOG one once you’re dead create and make to ever see Cinematographer/Editor Michael McNab (The memory as a weak organ, or: But how to convince other people Christine Francis Musician for Performance Photographer Lecture: FUCKDOG a fact proved wrong by dance) that it is a work? -
Choreographic Performance Systems
Choreographic Performance Systems Johannes Birringer Digital Performance Around the turn of the millennium reviewers noted that the marriage of dance and technology had produced a few significant works which startled audiences and shifted attention to what we now call digital performance. While the growth of computer-based art is an accepted phenomenon in globalized technological cultures, the genre of digital performance is still adolescent and thus in need of historical and conceptual underpinnings.1 The more sustained lineage of dance on screen and multimedia performances which incorporate projections of screen images offers a background for understanding the compatibility between live dance and the moving image, yet the incursion of software into choreographic working process is a different matter. Digital performance, to begin, is not a screen-based medium. Rather, it is characterized by an interface structure and computational processes that are integral for composition, evolving content, aesthetic techniques, interactive configurations and delivery forms. In many instances, the integration of human-machine interfaces implies the design of interactive systems, with 3D motion sensing set ups (for example Kinect) or wearable instruments that control real-time synthesis of digital outputs. Installation architectures compete with the stage – contextual design of programmable systems becomes a new form of architecture, protocol, and bio-informatic space. In the following, I review the historical development of video-dance, motion capture, -
Uno Naissoo Ja Valter Ojakääruta Oleksid Eesti Muusikas Valged Laigud Eesti Muusikaakadeemia Kontserdid Märtsis 2003 1
märts 2003 т 4 Eesti assi võimas lend NY lavale Kas Tšaikovski partituuri on sisse kirjutatud sureva inimese EKG? Uno Naissoo ja Valter Ojakääruta oleksid eesti muusikas valged laigud Eesti Muusikaakadeemia kontserdid märtsis 2003 1. märts kell 17.00 9. märts kell 13.00 EMA kammersaal EMA orelisaal IRENE LINDI (klaver) orelitund - ANDRES UIBO kaastegev Harry Traksmann (viiul) 14. märts kell 18.00 kavas Haydn, Mozart EMA kammersaal Eesti Muusikaakadeemia 4. märts kell 17.00 SEGAKOOR EMA kammersaal dirigent Bob Cowles magistrikontsert ANTO ÕNNIS (löökpillid) 15. märts kell 16.00 kaastegevad: EMA kammersaal Ivo Lille (saksofon) dots Urmas Vulbi VIIULIKLASS Kaisa Laasik (klaver) klaveril Lille Randma 19. märts kell 18.00 Anna Rõtikova (klaver) EMA kammersaal Hele-Riin Uib (löökpillid) 16. märts kell 16.00 prof Lilian Semperi kavas Friedman, Glennie, Carter, EMA kammersaal KLAVERIKLASS Bartök, Yuyama magistrikontsert LEMBI METS (tšello) 20. märts kell 18.00 7. märts kell 18.00 kaastegevad: Elo Ivask (viiul), EMA kammersaal EMA kammersaal Reinut Tepp (klavessiin), dots Tõnu Reimanni prof Olavi Kasemaa Nata-Ly Sakkos (klaver) VIIULIKLASS SAKSOFONIKLASS kavas Beethoven, Ravel, klaveril Reet Ruubel klaveril Ene Üksik Boismortier, Ester Mägi 21. märts kell 18.00 8. märts kell 16.00 16. märts kell 18.00 EMA kammersaal EMA kammersaal EMA orelisaal prof Mari Tampere-Bezrodny prof Ivari Ilja KLAVERIKLASS magistrikontsert VIIULIKLASS PILLE PRANS (viiul) klaveril Elena Fomina klaveril Reinut Tepp kavas Bach, Beethoven, Ysaye, Britten Muusika annab teada: Ajakirja vanu numbreid saab osta Muusika toimetusest hinnaga 10 krooni eksemplar. Reklaamihinnad Muusikas: Üleskutse Tagakaas 2200 krooni Toimetus kutsub kõiki muusikahuvilisi avaldama oma Esikaane sisekülg: 2000 krooni arvamusi ajakirjas ilmunud lugude kohta ja ootab Va lehekülge 1000 krooni ettepanekuid tulevaste numbrite teemade osas lA lehekülge 500 krooni. -
SPLIT PRO 01.Pdf (594.4Kb)
Presented by Arts House as part of Dance Massive Split A Lucy Guerin Inc Image: Gregory Lorenzutti H S Thu 16 – Sat 18 Mar, 7pm & Thu 23 – Sat 25 Mar, 7pm & Sun 19 & Sun 26 Mar, 3pm 50 mins 1 artshouse.com.au Creative Team Artist Statement Lucy Guerin The inspiration for Split came from ending ways in which women Choreographer/Director Melanie Lane & a desire to get into the studio with must conform to a ridiculous ideal. Lilian Steiner just two dancers. Having worked on In Split it is what the body does Dancers some larger pieces over the last as much as what it is that is Scanner Composer couple of years, I wanted that luxury important. Paul Lim of closeness with the dancers, to Lighting Designer play and search in a low pressure Heartfelt thanks to Lilian and Harriet Oxley Costume Designer environment. This for me is the joy Melanie for their courage and Robin Fox of dance making, a chance to burrow commitment to this work. Their Sound Designer into the pure elements of patience and diligence is very Jessie Oshodi Dancer Understudy choreography; time, space, structure apparent, and the gravity and Tra Mi Dinh and the movement of the human concentration that they bring to Dancer Secondee body. And to allow content to the choreography are vital to its James Lipari Production Manager develop from that process which realisation. Annette Vieusseux has resonance in the world. Producer Their willingness to engage in Claire Bradley Duke Assistant Producer Split shifts between two bodies, the creative process not just as reconciled and in conflict. -
Study Dance at the Western Australian Academy of Performing Arts
DANCE CLASSICAL BALLET WAAPA’s Dance programs are intensive, with students CUA51520 - DIPLOMA OF PROFESSIONAL averaging 35-40 contact hours per week. Daily DANCE (ELITE PERFORMANCE) tuition from our professional teaching staff focuses on Duration: 1 year, full-time building technical excellence, while three performance seasons per year give students the opportunity to refine their skills by working with visiting national and This nationally recognised qualification is the first year international choreographers. of the vocational dance program which leads into the Advanced Diploma of Professional Dance (Elite Repertoire includes works by: Nils Christe, Nacho Duato, Performance). It is a classical technique and Rafael Bonachela, Leigh Warren, Sasha Janes, Lauren performance focused course, providing intense Langlois, Claudia Alessi, Helder Seabra, Niv Marinberg, technical and practical experience through classes Richard Cilli, Scott Elstermann and Raewyn Hill. In 2020, and performance opportunities. we plan to continue our collaborative partnership • Students develop technical and creative skills in and exchange with the Pina Bausch Foundation, discipline areas of ballet, pointe, pas de deux, Wuppertal. repertoire, solos and performance. Our international exchange program offers • Additional studies include contemporary, opportunities to study in Taiwan, Hong Kong or New choreography, dance history, music for dance, yoga, York State and students also regularly participate in character dance, anatomy and nutrition. international tours to -
Aastaraamat 1 2003 Sisukord
EESTI MUUSIKAAKADEEMIA AASTARAAMAT 1 2003 SISUKORD Saateks (Peep Lassmann) ................................................................................................................................................................. 3 EMA üliõpilased rahvusvahelisel areenil ..................................................................................................................................... 4 EMA Nõukogus (Monika Topmann) .............................................................................................................................................. 4 Õppetöö (Malle Tarum) ..................................................................................................................................................................... 5 Akadeemilised osakonnad ............................................................................................................................................................. 19 Klaveriosakond (Ivari Ilja) ................................................................................................................................................. 19 Keelpilliosakond (Peeter Paemurru) ............................................................................................................................. 24 Puhkpilliosakond (Hannes Altrov) ................................................................................................................................. 26 Lauluosakond (Jaakko Ryhänen, Piia Paemurru) ..................................................................................................... -
Case Studies: Organisations’ Surveys Annexand Annual a Reports Ietm Mapping
IETM MAPPING www.ietm.org CASE STUDIES: ORGANISAtions’ surVEYS AnnexAND ANNUAL A REPORTS IETM MAPPING www.ietm.org Contents IDD_001. Australia 3 IDD_002. Australia 4 IDD_003. Australia 5 IDD_004. Australia 6 IDD_005. Australia 8 IDD_006. Australia 9 IDD_007. Bulgaria 11 IDD_008. Hong Kong, China 12 IDD_009. Hong Kong, China 14 IDD_010. Hungary 15 IDD_011. Hungary 16 IDD_012. Hungary 17 IDD_013. Hungary 19 IDD_014. Latvia 21 IDD_015. Norway 22 IDD_016. Poland 24 IDD_017. Slovakia 25 IDD_018. Spain, Catalonia 26 IDD_019. UK 27 IDD_020. UK 28 IDD_021. Canada 30 2 GENERAL MAPPING OF TYPES OF IMPACT RESEARCH IN THE PERFORMING ARTS SECTOR (2005-2015) IETM MAPPING www.ietm.org IDD_001. Australia Case study IDD IDD_001 Name of organisation Chunky Move Type of organisation small, NGO Country, region Australia Art sector dance Survey title -- Year 2009 Research scope organisation Research type self-assessment Is it part of a bigger evaluation testing the Artistic Vibrancy model effort? Research conductor the organisation Evaluation components 1 administrative data (i.e. box office results, # of visits, revenue, etc.) survey components (qualitative: interview, focus group and quantitative: Evaluation components 2 questionnaires with closed questions) self-assessment audience survey - ongoing peer review– informal, at each new work funders review – annually, dialogue with funding bodies media coverage - ongoing other Concept concerning artistic quality artistic vibrancy Comments on methodology The evaluation follows the Artistic Vibrancy model of Australia Council for the Arts. Recurrence n/a Demandability1 n/a Demandability2 voluntary Data comparability partial or none Self-assessment is reported to be a combination of research approach to creative development, Findings_narrative external feedback and internal reflection. -
Download Booklet
BIS-CD-731/732 STEREO E-D-DI Total playing time: 114'13 TOBIAS, Rudolf (rszs-1e18) Des Jona Sendung (Nord.ishaMusihftjrtaeet)114t13 Joonaseliihetamine / Jonah's Mission Restored and arranged by Vardo Rumessen BIS-CD-731 Playing tirnez 47'34 TEIL I 46'58 I OSA / FIRST PART Prolog 9'28 Proloog/ Prologue E 1. Chor und Chorus mysticus 2'18 Diese brise und ehebrecherischeArt... Koor ja chorus mysticus / Chorus and Chorus mysticus E 2. Arioso des Jona. Sie werden mir nicht glauben... L',57 Joonase ariooso / Jonah's Arioso E 3. Tenor und Chor. So spricht der Het... 5'10 Tenorja koor / Tenor and Chorus BILD I. Des Jona Sendung 11'11 I PILT. Joonase leihetamine / SCENE I. Jonah's Mission E 4. Tenor und Chor. Wosoll ich hingehn uor Deinem Geist... 3'08 Tenorja koor / Tenor and Chorus El 5. Tenor (Schiffsherr).Was schlcifstdu?... 1'18 Tenor (Iaeva kapten ) / Tenor (Shipmaster t E 6.ChonlmSeesturm.Hilfuns,wiruerderben... z'Lg Koor. Torm / Chorus.The Tempest E 7. Bariton. Tenor und Chor L'/15 Nehmet rnich und werft mich ins Meer... Bariton, tenorja koorid / Baritone, Tenor and Chorus E 8. Dankgebet der Schiffsleute, Solisten und Chiire 2'47 Die Wassersahen Dich, Gott!.. Meremeestetiinupalve. Solistid ja koorid / The Mariners Give Thanks unto the Lord. Soloistsand Choruses BILD II. Die Nacht der Gottverlassenheit 25'46 II PILT. Jumalast hi.iljatuse 6<i/ SCENE II. The Night of Being Forsaken by God E 9. Chorus mysticus. GleichwieJona war drei Tage... 3'58 Chorusmysticus / Chorusmysticus @ 10. lrrterrnezzo. Orchester O'57 Intermezzo. Orkester / Intermezzo. Orchestra E 11.Chiire. -
Out on the Town
ISPA OUT ON THE TOWN 1 ISPA OUT ON THE TOWN SCHEDULE Melbourne is Australia’s most culturally Saturday 28 May vibrant city and all year round audiences can experience an incredible diversity of live 13:00 – 15:00 The Pearlfishers Arts Centre Melbourne performances. Opera Australia 13:00 – 15:45 The Glass Menagerie The Coopers Malthouse Whilst you are in Melbourne for the 98th ISPA A Belvoir production at Malthouse Theatre Congress, REIMAGINING, we encourage you 14:00 – 15:40 Brahms’ Fourth Symphony Arts Centre Melbourne to see as much as you can – you never know Melbourne Symphony Orchestra what gem you might discover. 16:00 – 17:15 Heart is Racing Melbourne Recital Centre The Letter String Quartet The following list of events captures some 16:00 – 17:30 Straight White Men Arts Centre Melbourne performances that are happening over Melbourne Theatre Company the week of the Congress. From work-in- 18:00 – 21:30 Pasifika Showcase Eastbank Centre, Shepparton development showings to parties, meet-and- Multicultural Arts Victoria greets to world-class theatre, it certainly 19:00 – 20:15 Heart is Racing Melbourne Recital Centre gives you a snapshot of live performance in The Letter String Quartet our vibrant and inspiring city. 19:30 – 20:30 L U C I D Chunky Move Studio To find out more about any of the events Chunky Move or companies, speak to the team at the 19:30 – 21:45 La Bohème Arts Centre Melbourne Congress Registration and Information desk Opera Australia throughout the week. 19:30 – 22:15 The Glass Menagerie The Coopers Malthouse A Belvoir -
Standard Operating Procedure
PITCH NEW WORKS NOW APPLICATION Application for Pitch New Works Now at Cultural Shifts, ISPA 2013 Wrocław Congress, June 17th – 22nd, 2013 in Wrocław, Poland About Pitch New Works Now Developed from a program originated at the Banff Film and Television Festival in Alberta, Canada, Pitch New Works Now, is a forum for creators to share new productions and/or projects in development with ISPA’s prestigious international network of performing arts professionals. Presenters have the opportunity to pitch their new work to more than 300 delegates from 50 countries. At each ISPA Congress, ten projects are selected to participate in Pitch New Works Now. Selected applicants have seven minutes to pitch their new work and three minutes immediately following the pitch to answer delegate questions facilitated by the Pitch New Works Now host. After the pitch session, participants have the opportunity to interact directly with delegates during ISPA’s informal networking session; ProEx (Professional Exchange). In addition the ten selected projects, up to five additional projects may be selected for promotion on the ISPA website as E-Pitches. Past presenters in Pitch New Works Now have included proposals from many of the world’s leading dance, music, and theater artists including, but not limited to: Bill T. Jones/Arnie Zane Dance Company, SITI Company, and Mark Morris Dance Group (United States), Birmingham Repertory Theatre and Siobhan Davies Dance Company (Great Britain), Chinese Music Virtuosi (Hong Kong), Chunky Move and Balletlab (Australia), Soundstreams, Tafelmusik and Toronto Dance Theatre (Canada), Emio Greco/PC (Netherlands), Farm in the Cave (Czech Republic), Opera Africa and Farber Foundry (Africa), Tao Dance Theater (China), T’Ang Quartet (Singapore), and Ultima Vez (Belgium). -
The Australian Ballet with Berkeley Symphony in Graeme Murphy’S Swan Lake Music by Pyotr Il’Yich Tchaikovsky Swan Lake: Ballet in Four Acts , Op
Thursday, October 16, 2014, 8pm Friday, October 17, 2014, 8pm Saturday, October 18, 2014, 2pm & 8pm Sunday, October 19, 2014, 3pm Zellerbach Hall The Australian Ballet with Berkeley Symphony in Graeme Murphy’s Swan Lake Music by Pyotr Il’yich Tchaikovsky Swan Lake: Ballet in Four Acts , Op. 20 (1875–1876) y b s u B ff e J David McAllister AM, Artistic Director Libby Christie, Executive Director Nicolette Fraillon, Music Director and Chief Conductor The Australian Ballet acknowledges the invaluable support of its Official Tour Partners, Qantas and News Corp. The Australian Ballet’s 2014 tour to the United States has been generously supported by the Talbot Family Foundation and by The Australian Ballet’s International Touring Fund. These performances are made possible, in part, by Corporate Sponsor U.S. Bank, and by Patron Sponsors Deborah and Bob Van Nest, and Anonymous. Cal Performances’ – season is sponsored by Wells Fargo. CAL PERFORMANCES 19 Cal Performances thanks for its support of our presentation of The Australian Ballet in Graeme Murphy’s Swan Lake. PLAYBILL PROGRAM Graeme Murphy’s Swan Lake Choreography Graeme Murphy Creative Associate Janet Vernon Music Pyotr Il’yich Tchaikovsky (1840–1893): Swan Lake , Op. 20 (1875 –1876) Concept Graeme Murphy, Janet Vernon, and Kristian Fredrikson Set and Costume Design Kristian Fredrikson Original Lighting Design Damien Cooper PROGRAM Act I Scene I Prince Siegfried’s quarters Scene II Wedding festivities INTERMISSION Act II Scene I The sanatorium Scene II The lake INTERMISSION Act III An evening