Theatre Materials/ Material Theatres Conference 17Th 18Th April 2008 at Central School of Speech and Drama

Theatre Materials/ Material Theatres Conference 17th 18th April 2008 at Central School of Speech and Drama

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We invite you to join us to debate, discuss and explore the heart of the matter- the materiality of theatre- with scholars, artists and practitioners. Theatre Materials/ Material Theatres Conference What is its matter and what is the matter with it? 17th-18th April 2008. Each day opens with a key note address, on A two day programme of events, including key Thursday from Anne Bogart and Friday from notes, roundtables, performances and Professor Alan Read, then you will be spoilt for workshops, taking place at the Central School choice with a wealth of papers and presentations of Speech and Drama and roundtable discussions, rounded off each day with a plenary session led by an international Expect fresh, honest dialogue that cuts across team of respondents. the conventional barriers between academics, students and industry professionals with guests from around the world, including Anne Bogart, Sustainability Martin Green and Pamela Howard... The Centre for Excellence in Training for Theatre is CETT) is taking part in 'Climate Change This year's conference promises to be better Action Plan for London Theatre', sponsored by than ever before. Expect the unexpected- the Mayor's office, with a series of focused spontaneous tea parties, a fire-breathing discussions and open access forums. mechanical horse, 'guerilla' light installations Find out about and much more... Launch of 'Perform'- a proposal for a unique theatre space created by students of the Bartlett school of architecture with Central Join us as we ask: School of Speech and Drama students. What is theatre made of? What is its matter, and what is the matter with it? Sustainable theatre architecture. Sustainable theatre production.

Creative Enterprise

A roundtable discussion will investigate the entrepreneurial artist, and reflect on the challenge to higher education institutes to generate creative enterprise amongst arts students. Find out more about innovative residency programmes at both the Puppetry Centre, BAC and within the Central School of Speech and Drama

Street Arts

The conference will feature a very special social space: The Philosophers' Tea Party and The Bar of Ideas, created by street arts professionals working alongside a team of Central students. An interactive zone for the contemplation and sharing of thoughts generated by the conference, laced with performances and fully catered by a charismatic team of hosts. More.

http://www.theatrematerials.org.uk/[03/10/2013 13:43:08] What's on at the CETT Theatre Materials, Material Theatres conference

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What’s On

Events 17th April

Events 18th April

Contributors

Brochure (pdf)

Keynotes and Paper Creative Enterprise and Sustainability Street Arts Panels International Collaborations CETT is taking part in the Mayor's Street Arts features across the two Thursday will open with a keynote 'Climate Change Action Plan for days, with performers-in-residence, address from Anne Bogart, Artistic These are key issues for CETT, and London Theatre', with a series of including Paka the Uncredible and his Director of SITI Theatre Company will be discussed in two focussed, focused discussions and open access mechanical horse, and our very own (founded in 1992 with Japanese international roundtables. Choose forums. Bar of Ideas. On Friday a day long Director Tadashi Suzuki) and from; The Entrepreneurial Artist- series of discussions includes a Professor at Columbia University. investigating the identity of the Several sessions will be taking place at roundtable with a with a particular Paper Panels; Object, Presence, entrepreneur within the arts, and reflect the Theatre Materials conference, focus on the upcoming London Absence; Audience: Bodies, on the challenge to higher education including discussions on sustainable Olympics, featuring Martin Green Experience, Presence, and institutes to generate creative theatre architecture, sustainable (Head of Ceremonies, London Materialities of Performance. enterprise amongst arts students. theatre production and a plenary Organising Committee of the Presentations from Ali Pretty of considering the mayor's action plan. Olympic Games) and Chenine Kinetika and Ramon Ivars of the Panellists include David Kirby The sessions will feature speakers Bathena (Arts Council England). Theatre Institut Barcelona. (Vodafone Chair of Business) and from the Mayor's office, Arts Council Another discussion will look at models Roundtables - The Entrepreneurial Elizabeth Bradley (Head of Drama at and the Theatre's Trust. of higher education for Street Arts, Artist, The Audience's Body as Material Carnegie Mellon) and Presentation with speakers including Julian Rudd and Presence and Representation; and Representation, a debate on the The Conference will also see the (ISAN Co ordinator and Director of Particpatory workshops. The final complex nature of international launch of the 'Perform' project - the Remarkable Productions) and Liz presentation of this stimulating day will collaborative Applied Theatre projects first event in an ambitious collaboration Pugh (Director and Producer, Walk take a very different look at matter as and partnerships; the opportunities and between Central and the Bartlett the Plank). Zoe Laughlin of the 'Materials Library' difficulties and ethics of such work, School of Architecture, two of View the timetable presents 'The Performativity of Matter'. with panellists including Jeton Neziraj London's leading creative institutions, About the contributors (Playwright and Direcotr, Center for who have joined forces to rethink The day will end with a plenary session Children's Theatre Development, design, fabrication and purpose of led by an international team of Kosova) and Divya Bhatia (Festival performance spaces. Here, speculative respondents leading to a social Director, Prithvi Festival, India) and preliminary ideas by young evening. designers are presented as a catalyst CETT also welcomes a number of to propel the commission of a full scale Friday opens with a keynote address leading artists and academics whose prototype exploring issues of from Professor Alan Read, Professor work will be in residence throughout sustainability and spatial innovation. of Theatre at Kings College London, the Conference, with showings at View the timetable and distinguished author of 'Theatre points throughout the two days. Look About the contributors and Everyday Life', and 'Theatre, out for exhibitions and installations Intimacy and Engagement'. Paper from artists and companies who have panels: Materialities of Light, Voice been in residence across the year. and the Body; Puppet, performance, process; Design, space, utopias; View the timetable Material communities: involving the About the contributors audience. Keynote Presentation; Pamela Howard - 'The Marriage' a manifesto for Director / Designers; Performance demonstrations; Paul Rae 'Tree Duet', Sean Myatt 'Instinctive Object Ramblings', and Song Jungmin 'A Dressmaker'; Roundtables on Street Arts and Greening the Theatre.

The conference will end with a plenary session and a chance to toast the new connections made in the 'Bar of Ideas'!

http://www.theatrematerials.org.uk/pages/whatson.html[03/10/2013 13:43:12] What's on at the CETT Theatre Materials, Material Theatres conference

View the timetable About the contributors

http://www.theatrematerials.org.uk/pages/whatson.html[03/10/2013 13:43:12] CETT conference news

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Keep up-to-date with the latest from Theatre Roving Reporters Materials as and when it happens, straight from the horse's mouth. We have invited three special guests to act as roving interpreters at 'Theatre Materials'. We Sign up to receive the latest information, have asked them to roam the conference, take news and events. the temperature of the event, follow their noses, listen in and report back.

They are Dr Stephen di Benedetto from the University of Miami, Helsinki-based dramaturg, director and teacher Katariina Numminen, and Central's own Nick Wood, Course Leader of the MA in Advanced Theatre Practice. They will be dropping in and out, chairing here, responding there - and equipped with digital cameras to map their own journey through the proceedings.

Documentation

Also artist Paka will be recording his own journey through the conference, wearing a hat with an in-built webcam.

http://www.theatrematerials.org.uk/pages/news.html[03/10/2013 13:43:13] Book a place at the CETT conference

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General Info Booking is now open. How to get here Full Conference £140 As parking is limited we recommend you travel to the Central School of Speech and Drama on public Day Rate £75 transport: Students & Concessions day rate £35

Proof of status will be required when booking Underground a concessionary ticket. Central is on the other side of the road from the Jubilee Line- Swiss Cottage (exit 2) or approximately 8 mins walk from the Metropolitan Line Finchley Road tube station. Download the registration form

Rail Central is approximately 10 mins walk from the Silverlink Metro Finchley Road & Frognal rail station.

Buses The following bus routes stop near Central: 13, 187, 268, C11, 31, 46, 82, 113

Bicycle The nearest bicycle racks are next to Swiss Cottage tube station (exit 2)

MAP Local Hotels Local Restaurants

Accessibility Visitors with disabilities are advised to call prior to their visit to ask Central for help in securing special parking and make any other arrangements should they need to.

http://www.theatrematerials.org.uk/pages/howtobook.html[03/10/2013 13:43:14] Centre for Excellence in Training for Theatre (CETT), created by The Central School of Speech and Drama

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About CETT The Centre for Excellence in Training for Theatre (CETT) was created by The Central School of Speech and Drama, University of London. It works to provide a national resource for vocational performing arts training and learning, a focus for theatre research and scholarship, and a site for collaboration, nationally and internationally, between industry, Higher Education and specialist training providers.

Since its inception in 2005, CETT has hosted several events which have focussed on different aspects of theatre; Verbatim Theatre, Postdramatic Theatre, Feminist Neo-Burlesque and Puppetry. In addition, CETT has welcomed guests including ORLAN, Anatoly Smeliansky, Anoja Weerasinghe and Hans-Thies Lehmann, who have spoken about their work and practices.

CETT actively supports the documentation of curriculum work at The Central School of Speech and Drama, and has facilitated a variety of projects, including recent work with Handspring, Kinetika and Complicite.

Also on-going Enquiries curated by CETT include investigations into key concerns in the theatre profession - Sustainability, Street Arts and Documentation. There is involvement in projects on issues faced by students in theatre training - the questions of access; dis/ability; dyslexia and body image. These investigations are run in collaboration with sister institutions in HE and specialist training, and with theatre and industry professionals.

http://www.theatrematerials.org.uk/pages/about.html[03/10/2013 13:43:15] Contact CETT about theatre materials/material theatres

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Centre for Excellence in Training for Theatre Head of the Centre Credits The Central School of Speech and Drama and Conference Director Embassy Theatre Dr Sophie Nield Photography Eton Avenue [email protected] Swiss Cottage Angell Patrick Baldwin LONDON NW3 3HY Conference Director Jessica Bowles Manuel Vason T: +44 (0) 20 7449 1570 / 020 7449 1571 [email protected] E: [email protected] Illustration Conference Organiser MAP Gabriella Apicella Dot Young [email protected]

Conference Organiser Gail Hunt [email protected]

http://www.theatrematerials.org.uk/pages/contact.html[03/10/2013 13:43:16] Material Theatres conference contributors

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Home What's On News How to Book About CETT Contact What’s On Events 17th April

Events 18th April Contributors

Brochure (pdf)

Contributors

Keynote Paper Panels In Association with

Anne Bogart Artistic Director of the SITI Company in New Richard Allen (Aberystwyth University): Bartlett School of Architecture York and Professor, Columbia University - Graduate Performing the Object/Avoiding the Subject: The Object as Independent Street Arts Network Directing Program Postdramatic Gesture. Mander & Mitchenson Alan Read King’s College London Yael Farber at the Barbican Broderick Chow (The Central School of Speech and Drama): Workshops at the V&A Presentations Objects of performance and relational aesthetics: an alternative strategy for the theatre and visual arts. Exhibitions Bartlett School of Architecture Pamela Howard Nesreen Hussein (Royal Holloway, University of London): Bartlett Project Costume Talks - Ali Pretty (Kinetika) Ramón Ivars (Institut Time as Body, Body as Object, Object as Time: A Case of Materiality. Costume Archive del Teatre in Barcelona) Matt Fletcher (Southampton Solent University): Costume Artefacts as Inspiration - Anne Curry Installations Pantomime Costumes - Keith Orton Theatre as Relationship. The process of developing The Stone Garden Project - Bar of Ideas Cognitiv Arts John Keefe (London Metropolitan University & Queens University Knackers Yard (Canada) International Study Centre): Paka and Surveillance van The Material Body – Actor and Spectator. Roving Reporters In Residence Stephen Di Benedetto University of Miami Michael Spencer (Associated Courses in Theatre Design): . Katariina Numminen Helsinki-based dramaturg, director Audience & Presence Eleanor Margolies and teacher Metis Arts Trish Reid (Kingston University): Nick Wood , Course Leader of the MA in Advanced Theatre Present Attempt

Practice, CSSD On Anthony Neilson's Work. Tessellate Things on Fire Theatre Company Andy Smith (International Film School Wales): TSD Expo Post-dramatic Chekhov: The Seagull in Close-up. Participatory Workshops The Technical Support Department of The Central School Carmen Szabo (University College Dublin): of Speech and Drama are creating several installations and Acoustic Theatre Imprints - Elizabeth Suspended Between Human and Machine – Representations of the presentations throughout the conference. Mills, University of Cape Town. Post-Human in Performances by Stelarc and Operating Theatre.

From prop to protagonist. Roundtable Discussions Elizabeth Mills (University of Cape Town): Rene Baker - Theatre Institute Sonic materials, acoustic spaces and actor agency... Liselle Terret (The Central School of Speech and Drama). Barcelona and Ramón Ivars. Selina Busby (The Central School of Speech and Drama). Mary Oliver (Salford University): Jeton Neziraj (University of Printina). An introduction to how we hear the And that’s not all folks: Introducing the cartoon performer. Divya Bhatia, (Festival Director, Prithvi Theatre Festival). world. Karl Rouse (The Central School of Speech and Drama). Using sound in theatre - practical Cormac Power and Matt Cummins (Northumbria University): Elizabeth Bradley (New York University). low-fi techniques for beginners. Symbolising the Material/Energising the Immaterial: David Kirby (Vodafone Chair of Business). Gareth Fry and Carolyn Downing 'Energy' as a Material Process in Theatrical Experience. Jane Munro (The Central School of Speech and Drama). Gareth White (The Central School of Speech and Drama). Objects and Obstacles, Movement Ken Coker (Nottingham Trent University): Felix Ruckert (Choreographer). for Actors Less wet water; some observations on lighting design for Martial Chazallon (Projet InSitu). Natalia Fedorova, Moscow Art Theatre performance. Martin Chaput (Projet InSitu). School. Ayse Tashkiran (The Central School of Speech and Rene Baker (Theatre Institute Barcelona): Drama). Locomotion: The Ability To Move Letting Materials Speak. Robert Cook (Chi Chi Binichi). From One Place To Another Or Raquel Meseguer (Lost Dog and Punch Drunk). Locomotion : Action De Se Deplacer Liat Rosenthal (The Central School of Speech and Drama): Helen Freshwater (FrenchMottershead). D'un Lieu A Un Autre (Synonymes : Research undertaken on the MA Advance Theatre Practice: Puppetry Julian Rudd (ISAN Coordinator and Director of Remarkable Déplacement, Voyage, Marche, and Object Theatre. Productions). Traction, transport). Liz Pugh (Producer and Director, Walk the Plank). Projet in situ Company - Martin Chaput Matt Smith (Liverpool Institute of Performing Arts): Alastair Noonan (The Central School of Speech and and Martial Chazallon.

http://www.theatrematerials.org.uk/pages/contrib.html[03/10/2013 13:43:17] Material Theatres conference contributors

Why do contemporary theatre makers use puppetry as part of the Drama). stage space? John Lee (University of Winchester) Is it real or are we pretending? Luke Mills. Jon Davison, Creative Research Song Jungmin 'A Dressmaker'. Martin Green (Head of Ceremonies, London OCOG). Fellow, CSSD Sam Hunter (Production Stage Manager). Sean Myatt (Nottingham Trent University): Chenine Bhathena, Theatre Officer, Arts Council England). Instinctive Object Ramblings. CETT: Theatre Materials Ruth Butler (CSSD Graduate). Year 2007-8 Gavin Henderson (Principal, CSSD). Greer Crawley (University of Vienna and Zurich University of the Arts): Frank Wilson (Chair of ISAN and Managing Director of Curriculum Projects Modelmaking and the Spatial Imagination. Event International). Complicite Nick Moran (The Central School of Speech and Drama). Rachel Hann (University of Leeds): Handspring Anna Beech (London Mayor’s Office). UnRealised Theatres / Theatres Realised. Kinetika Ben Todd (Arcola Theatre). Feminist Neo-Burlesque Bob Sheil (Bartlett School of Architecture). Joanna Parker (The Central School of Speech and Drama): Graeae Mhora Samuel (Theatres Trust). To be inhabited spaces. Juhi Shareef (Arup). Petrus Bertschinger(Theatre Consultant). Jonathan Petherbridge (London Bubble Theatre Company). Showing film extracts of Open Performance Work with London Bubble Theatre Company

Peter Rumney (Nottingham Trent University): What is the matter? The matter is that young people do not think that theatre is 'for them'...

Dessislava Stoitcheva (British Council, Bulgaria): How do we find, attract, develop and keep our theatre audiences?

http://www.theatrematerials.org.uk/pages/contrib.html[03/10/2013 13:43:17] Material Theatres conference 17th April timetable

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Timetable 17th April Registration 9am to 10.30am in the Theatre Auditorium - Download the timetable (pdf)

KEY Plenary Presentation Residency Keynote Paper Panel Workshop Roundtable Discussion Other Conference activity

9.00 9.30 10.00 10.30 11.00 11.30 12.00 12.30 13.00 13.30 14.00 14.30 15.00 15.30 16.00 16.30 17.00 17.30 18.00 18.30 19.00 19.30 20.00 The Keynote Lecture: TSD TSD Embassy Theatre Registration perform perform Performativity Anne Bogart Tour Tour of Matter Embassy Studio The Bar of Ideas Reception Puppetry Studio The Cabinet of Curiosities New Studio Costume Archive Knacker's Studio 2 Knacker's Yard Yard Presence and Participatory Performance Studio 1 Representation Performance Rehearsal Room 1 & 2 The Entrepreneurial Artist Acoustic Theatre Rehearsal room 3 Imprints Rehearsal Room 4 Ali Pretty Ramon Ivars Clean Rehearsal Room From Prop to Protagonist Rehearsal Room 5 Life at the Molecular Level Rehearsal Room 6 Priming the String Machine: The Object as Postdramatic Gesture An introduction to how we hear the Performance Studio 2 world Audience: bodies, Rehearsal Room 7 experience, presence Rehearsal Room 8 The Bunker Project Object, Presence, Materialities of Room A Absence Performance Room D Objects and Obstacles Atrium Bartlett Project Theatre Substage Tesse-laboTTomy

http://www.theatrematerials.org.uk/pages/timetable.html[03/10/2013 13:43:18] Material Theatres conference 17th April timetable

http://www.theatrematerials.org.uk/pages/timetable.html[03/10/2013 13:43:18] Theatre Materials/ Material Theatres Conference 17th 18th April 2008 at Central School of Speech and Drama

Quick Links Contributors Timetable How to book

What's On News How to Book About CETT Contact Keynotes and Presentations

Creative Enterprise

Street Arts

http://www.theatrematerials.org.uk/index.html[03/10/2013 13:43:20] Material Theatres conference 18th April timetable

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Home What's On News How to Book About CETT Contact What’s On Events 17th April

Events 18th April Contributors

Brochure (pdf)

Timetable 18th April Registration 9am to 10.00am in the Theatre Auditorium - Download the timetable (pdf)

KEY Plenary Presentation Residency Keynote Paper Panel Workshop Roundtable Discussion Other Conference activity

9.00 9.30 10.00 10.30 11.00 11.30 12.00 12.30 13.00 13.30 14.00 14.30 15.00 15.30 16.00 16.30 17.00 17.30 18.00 18.30 19.00 19.30 20.00 Keynote TSD TSD Embassy Theatre Registration Lecture: Plenary Tour Tour Alan Read Embassy Studio The Bar of Ideas Puppetry Studio The Cabinet of Curiosities Movement Studio Project In Situ Project In Situ New Studio Costume Archive Sustainable Theatre What does Greening Studio 1 Tree Duet Architecture / Sustainable Theatre Practice mean? Production Studio 2 Knacker's Yard Street Arts and Higher Street Arts: Performance Studio 1 Education Models The Olympics as Catalyst Instinctive A Rehearsal Room 1 & 2 Pamela Howard Object Dressmaker Ramblings Rehearsal Room 4 Anne Curry Keith Orton Rehearsal Room 5 Life at the Molecular Level Rehearsal Room 6 Priming the String Machine: The Object as Postdramatic Gesture Performance Studio 2 Using Sound in Theatre The Stone Garden Materialities of Design, Space, Rehearsal Room 7 Voice, Light and Utopias Body Rehearsal Room 8 The Bunker Project Material Puppet, Communities: Room A Performance, involving the Process audience Room D Clowning Objects Atrium Bartlett Project Theatre Substage Tesse-laboTTomy

http://www.theatrematerials.org.uk/pages/timetable18th.html[03/10/2013 13:43:21] Material Theatres conference 18th April timetable

http://www.theatrematerials.org.uk/pages/timetable18th.html[03/10/2013 13:43:21] TheatreMaterialsCovers 14/4/08 11:00 am Page 1

The Centre for Excellence in Training for Theatre Theatre Materials Material Theatres Conference 2008

17 and 18 April 2008 At The Central School of Speech and Drama

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Theatre Materials

Welcome by Professor Gavin Henderson, CBE, Principal, The Central School of Speech and Drama

I am delighted to welcome all taking consider aspects of sustainability, and part in The Central School’s CETT the ecological consequences of Conference ‘Theatre Materials / running such facilities that are Material Theatres’, the second in an dedicated to the intense gathering of annual series exploring unusual people in a place for theatre. avenues of contemporary theatre ‘Theatre Materials’ will probably pose making. more questions than answers, and The context in which theatre is certainly stimulate many contradictory created has always been a many answers to those questions – such is faceted construct, and often not the nature of theatre. Central is a constructed at all: formal spaces, and vibrant school, at its best a site-specific locations; ritual, carnival, community of widely differing and celebratory performances; individuals, and not a ‘branded’ privilege and class status, economic corporate institution – I hope that all choice and distinction – so many the individuals taking part in this factors shape the way in which we conference will feel suitably engaged approach an engagement with in such debate. theatrical experience, now made even more complex (or simplified?) by digital production and new media opportunities. So too we must

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Contents

10 Thursday 04 Conference Information 10 Timetable Roving Reporters 11 Programme Details Introduction by Dr Sophie Student Delegates 15 Friday Nield and Jessica Bowles 05 In Association With 15 Timetable • The Bartlett School of Architecture 16 Programme Details • Independent Street Arts Network Theatre Materials / Material We hope that you will enjoy and be 20 CETT: Theatre Theatres: a welcome and stimulated by the great company and • The Mander & Mitchenson Theatre Collection Materials Year introduction… conversations to be had in and 2007-08 around the events we’ve • Yael Farber at the Barbican It’s a real pleasure to welcome you to programmed. We look forward to • Society of British Theatre this, the second of CETT’s meetings sharing thoughts, ideas, practices Designers Curriculum Projects of international theatre makers and and performances with you over the 06 In Residence thinkers: ‘Theatre Materials / Material coming days, and hope that the • Complicite Theatre Company Theatres’. conference will be a springboard for • Handspring Puppet Company Here, we will explore the future dialogues. • Eleanor Margolies • Kinetika materialities of theatre – objects, • Metis Arts things, stuff, bodies, architectures, Jessica Bowles • Present Attempt Issues in Theatre spaces, economies and illusions… and Dr Sophie Nield • Tessellate Theatre Training Projects As the field of theatre studies looks • Things on Fire Theatre Company to a revitalised materialism, 08 Exhibitions • Graeae investigating space, time, presence, • Feminist Neo-Burlesque: corporeality, representation and performance-presentation event… • perform: a collaborative project As the theatre industries look to between Central and the Bartlett Other Projects questions of funding, architectures, School of Architecture • Costume Archive audiences and sustainability… • Stratospheric Speakers • Artist in Residence - Jane As training institutions look to • Student Puppet Festival Heather mould the theatre builders, • Graduate Residencies designers, makers of tomorrow… Installations] • Students and CETT 24 Contributors • Bar of Ideas • Knackers Yard 29 Credits • Paka and Surveillance Van • Central's Technical Support Department Expo

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Conference Information

Roving Reporters

Badges Noticeboard We have invited three special guests to act as roving reporters at ‘Theatre Materials’. We have asked them to roam You will be given your conference badge The Conference noticeboard will be located the conference, take the temperature of when you register. Please wear your badge in the Foyer outside the Embassy Theatre. the event, follow their noses, listen in and at all times during the conference as this Delegates should consult the board for any report back. gives you access to the refreshments and up-dates to the programme on a day-to-day They are Dr Stephen Di Benedetto from the many events and for security. basis and may also post their own the University of Miami, Helsinki-based messages here. dramaturg, director and teacher Katariina Catering Numminen, and Central’s Nick Wood, Cloakroom Course Leader of the MA in Advanced Theatre Practice. They will be dropping in Complimentary tea, coffee and water will be and out, chairing here, responding there – available in the Central Canteen from 9.00 There is a cloakroom off the Foyer, where and will be equipped with digital cameras am until 12.30 pm on the first day of the coats and bags can be left. This is open to map their own journey through the conference. and staffed from 9.00 am to 7.00 pm on proceedings. After this, complimentary drinks will be Thursday and from 9.00 am to 6.00 pm served in the Bar of Ideas in the Embassy on Friday. Studio, throughout the day, on both days. Student Lunch will be served in the Central Ushers Canteen on both days from 12.00 noon – Delegates 2.30 pm. A choice of main courses, including fish and vegetarian dishes plus a Ushers are in most of the rooms being used choice of desserts are provided. for the conference and will also be stationed You will see around you throughout this The Central Canteen is on the first floor of in Reception throughout both days. Please conference our student delegates helping the main building and is accessed from the speak to one of them if you have a problem, to stage, create, run and document the Atrium, which is just off the Foyer. and they will contact one of the Conference events and discourses over the next two A drinks reception, with light refreshments, Organisers if necessary. days. Involving students in conference will also be held for delegates in the Bar of At the time of going to press all times, activity enables them to engage with Ideas after the plenary on the first day. rooms and contributors are accurate, but academic discussion, which is at the The Bar of Ideas is clearly signposted and due to the availability of contributors, some forefront their discipline. This means that is in the Embassy Studio space. changes may occur. these new knowledges can be fed Light refreshments and drinks are also forward to their peers as directly as available for sale in the Café Bar in the possible into debates in the Foyer from 8.30 am until 5.00 pm on both undergraduate and postgraduate days of the conference. courses.

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In Association with

Bartlett School of opportunities for young people interested in dance, opera, music-hall, variety, work will be presented in the Pit Theatre at Architecture working in the sector, as well as residencies dramatists, singers and composers, the Barbican on 17 April. Significantly, this is for artists and professional development together with many engravings and pictures. one of the first occasions that the work will opportunities for more experienced The Collection includes many theatre be performed by actors other than those British architectural education began at practitioners. paintings, as well as set and costume who created and performed in the original University College London in 1841, and The relationship with Independent Street designs and 500 pottery figures. productions. since then the Bartlett School of Arts Network has been pivotal to this The Central School of Speech and Drama The round table discussion following the Architecture has always been at the development. As an organisation ISAN is developing several initiatives with the presentation will consider the possibilities forefront of the international architectural represents an independent group of Collection, including the sponsorship of a and challenges of creating and performing debate. This is a reputation strengthened by presenters and promoters of street arts bursary for PhD study in the field of theatre testimonial theatre work. the most recent period of its history, during throughout the UK working to develop the history. www.mander-and-mitchenson.co.uk The Society of British which a cohort of highly innovative art form through networking, information, collaboration, lobbying, training and Theatre Designers teachers, designers, researchers and Yael Farber at the students have created a new wave of advocacy. If you are interested in helping to shape Barbican The Society of British Theatre Designers different architectures. The School’s current Theatre as Witness: staff and students, as well as its graduates, the way in which education engages with and the Association of Courses in Theatre the street arts sector you won’t want to making and performing Design have teamed up with the Centre for are now all inextricably involved in the testimonial theatre production of new buildings, designs, books miss Friday’s roundtable sessions, see page Excellence in Training for Theatre to offer and all manner of architectural outputs. This 16 for further details. masterclasses and portfolio review sessions Thursday 17 April, 4.30 pm – 6.00 pm is a School where people constantly design, in conjunction with the Collaborators The Mander & Mitchenson exhibition at the V&A in South Kensington. invent, explore, write, draw, teach, Theatre Collection speculate, theorise, film, map, critique, Yael Farber’s testimonial theatre work began Professional designers and workshop analyse and imagine. in 1999, when she collaborated with South leaders have given their time to work with This approach meant that when CETT The Raymond Mander & Joe Mitchenson African actress Thembi Mtshali to create students on their skills and portfolios over wanted to look for partners to develop its Theatre Collection is one of the largest Woman in Waiting, a testimonial play that the course of the exhibition, which is on ideas for theatre spaces to address the next collections of theatre and performance explores Mtshali’s life growing up and living until the end of August. century, they were the perfect match. We related materials in the UK. A charitable as a mother under South Africa’s brutal The programme this March included hope you enjoy seeing the fruits of the first trust, the Collection is part of the Jerwood apartheid regime. This was followed in 2000 sessions on puppetry and object stages of our investigations in the perform Library of the Performing Arts, based in by Amajuba: Like Doves We Rise, a play manipulation with Rene Baker, Mervyn exhibition in the Atrium which is Greenwich, London UK and staffed by created in collaboration with five actors, Miller, Ronnie Le Drew and Roman complemented by presentations of the Richard Mangan as Administrator, and who tell their own personal stories of Stefanski; modelmaking for theatre with project on Thursday (see presentations on Kristy Davis as Archive Officer/Cataloguer. It growing up in the black townships of South David Neat, as well as portfolio review page 13) owes its existence to the extraordinary Africa. Farber’s third testimonial play, He sessions with designers Gabriella Csanyi- lifetimes work of Raymond Mander and Joe Left Quietly, was created with Duma Kumalo Wills, Katherina Radeva, Es Devlin, Naomi Independent Street Arts Mitchenson, and has at its heart two who, as one of the Sharpeville Six, was Wilkinson, and Fiona Watt. The next series Network thousand or more archive boxes containing wrongly accused of murder, sentenced to of workshops, this time on costume, and playbills, posters, programmes, engravings, death and eventually reprieved due to portfolio review sessions will be in June. Central has a strong track record in making cuttings and production photographs of international pressure. outdoor and street performance. London and regional theatres. There are Yael Farber will be running a workshop Increasingly, it has looked to develop files on every actor and actress of note in exploring He Left Quietly with acting relationships that will enable training the British theatre, and sections on circus, students from Central. A short extract of the

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In Residence

Eleanor Margolies Metis Arts Present Attempt All Week All Week All Week Puppetry Studio Rehearsal Room 8 Rehearsal Room 5

MOIL: acronym : Material, Oppositions The Bunker Project began by researching Life at the Molecular Level Inversions and Ludification also, Mostly uses of hidden war spaces in Cambridge, in Obsolete In London (China Miéville) particular exercises imagining the lead-up and As part of the research and development for aftermath of nuclear attack their new project Life at the Molecular Level, In a week-long residency in the Puppetry www.thebunkerproject.info. In response, they Present Attempt (CETT Graduate Residents Studio, Eleanor Margolies and visiting artists are now exploring such ‘rehearsals’ in relation 2008) open up their devising process and will explore the actions and interactions that to the current environment, with particular invite you to observe and potentially intervene particular materials invite. attention to the privatization of fear and the in the shaping of their eventual performance. Rediscover familiar materials and encounter relation between performance-as-pretence Using long-form improvisation and rule new ones as traditional materials take on and performance as task-fulfilment. It based tasks, the company will be working contemporary forms. Ongoing investigations investigates a mind-body division in training towards a work-in-progress showing on include: for disaster situations that split this activity of Friday afternoon, to be followed by a • The sociability and tedium of papier-mâché preparation for the ‘what-if?’ from political or discussion. • Rapid prototyping and French knitting emotional response. During the residency, Their process explores the notion and • Customised commodities and sustainability: they will be working on a fictional disaster (im)possibility of interconnectivity, both as earplugs and bread pellets management ‘exercise’. They will be testing it form and content for postdramatic twice a day (11am-1pm & 3-5pm), and performance. Utilising a multi-layered conference delegates are welcome to drop in. framework, containing seemingly distinct and disparate performative entities, each unique in atmosphere and governed by specific rules, they will explore possibilities for interconnection/interruption through the collapse of these framework(s).

There will be a presentation of their work in progress on Friday at 1.30 pm – 2.45 pm.

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Tessellate Theatre Things on Fire Theatre Company All Week All Week Theatre Sub-stage Rehearsal Room 6

Tesse-laboTTomy' Priming the String Machine: The Object as The objects used by the company are often Tessellate (CETT Graduate Residents 2008) Postdramatic Gesture chosen for their banality: things that you want to take you beneath their surface and far Things On Fire Theatre Company will further might find around your house, or in the into the depths of their memory. Over two- their ongoing research into the postdramatic garage. Sometimes they are given figurative days, the company will take over the sub potential of manipulating objects through form, combined with constructed features to stage space of the Embassy Theatre and fill it alternative and experimental methods. The appear ‘puppet-like’ depending on the with the materials that have made them who research is based around Director Richard appropriateness of the work. they are, creating a living, breathing archive of Allen’s practice based PhD into postdramatic their work. Watch and interact as they theory. The company challenges the reinvent, reincarnate and rejuvenate the emergence of the virtual in contemporary materials of their past and, ultimately, look performance by embracing the visceral ahead to how these will shape their work in through a concentration on the olfactory and the future. Witness an explosion of the tactile nature of the object. Tessellate brain! The company has been developing a method of manipulation that does not seek to create an illusion of a perceived autonomous ‘life’ but that taps into the life of the object beyond appearance, the metaphysical presence of the familiar yet strangely haunted ‘thing’. This method of manipulation has been realised through the creation of various string machines; mechanisms of complex structures of wires, pulleys and objects that interact and transform with the performers to play out narratives and tensions between them. The audience is situated within the machines, built into the structures yet kept simultaneously distant from them. The work of the company is full of types of ‘technology’ yet the methods are jarringly ‘low-tech’ embracing the absurdity and delight of the simplicity of watching things move.

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Exhibitions Installations

perform: a collaborative Artist in Knackers Yard project between Central and Residence the Bartlett School of - Jane Heather Reconfigure recycled model figures and Architecture objects to create a new scenographic As this year’s artist in image. Play with figures and materials creating temporal images that are caught by The Conference sees the launch of the residence, Jane has the camera and/or in words or questions. perform project - the first event in an spent the last term These model images articulate a given ambitious collaboration between Central embedded in the rehearsal moment in time. They can be cumulative and the Bartlett School of Architecture, two process of the final year and sequenced or readdressed with a new of London’s leading creative institutions, production of Boy A spatial proposition. What is this intimate who have joined forces to rethink design, directed by Yael Shavit. The improvisational space and who is it for? fabrication and purpose of performance resulting sketches reveal the spaces. Here, speculative and preliminary development of the There will be a showing in Studio 2 on ideas by young designers are presented as production in a way that Thursday between 4.30 pm and 5.30 pm. a catalyst to propel the commission of a full would never be possible in scale prototype exploring issues of a photographic The Social Space – Philosophers sustainability and spatial innovation. image as moments, fragments of Tea Party / Bar of Ideas spoken Costume Archive A conference is about ideas. Inspired by the conversations discussions, the speeches, the papers, the and carefully The Archive event spotlights Central’s newly presentations which are the business of observed accidents are layered catalogued costume collection. It focuses conference, the ideas come from the on Central’s past and gives us a glimpse of up upon the page. conversations between individuals attending. how this collection can influence theatre The sketches can be experienced in the Theatre Materials / Material Theatres will practitioners in the future. Created by backstage area next to the Bar of Ideas and recognise and embrace this by creating an theatre practice undergraduates, this event in moments on the plasma screens around exciting and inspiring place for these takes a new approach to exhibition design the building. Jane will also be recording the conversations to happen over tea and coffee and removes the barriers between the conference in her sketches throughout the or a glass of wine. Most importantly the Bar audience and the artefacts. two days and the images constantly of Ideas is key in conveying the sense that The Costume Archive was designed by updated on the Foyer display boards. Central is a creative, innovative and exciting Beth McDougall (3rd year Costume institution. Construction), organised and managed by The Social Space will also demonstrate and Emma Stanton (3rd Year Costume disseminate the kind of model of Construction) The lighting was designed collaboration we are discussing at the and produced by Sunghee Yu (3rd year conference, creating a dynamic environment lighting) and Caroline Townsend (Costume for learning as well as opportunities for Construction Crafts tutor) oversaw the practitioners to develop their work through design process. accessing space and expertise. Students from The Central School of Speech and Guided tours of the exhibition will be every Drama will work alongside industry hour, from 1.00 pm – 6.00 pm on both professionals, Central staff and a team of days. artists to create the Social Space; the Philosophers Tea Party and the Bar of Ideas, PAGE 8 all in two and a half weeks! TheatreMaterialsPRINT 14/4/08 10:44 am Page 9

Paka Surveillance Van

Paka (a.k.a. Simon Collins) is a unique Outside and conspicuously close to the Bar The sub-stage will also be visible through interdisciplinary artist who creates of Ideas lies a Mercedes van, equipped with polycarbonate panels over the traps. spectacular and engrossing performance a satellite dish, large headphones and a Delegates will have the opportunity to go from a mix of large-scale mechanical huge amount of cabling. Manned by a on tours around the Embassy Theatre at sculpture, digital media, special effects, suspiciously disconcerting number of designated times throughout the conference dramatic characters, circus skills, puppetry, technicians, the surveillance van has (see timetable for details). Should you wish, and audience involvement. He has been travelled from 1980s East Berlin to keep you will be able to climb ladders around the working with his horses for the last 5 years tabs on the ideas, thoughts and 'goings on' stage area, and get up close with the creating Don Quixote themed shows of at the ‘Theatre Materials’ conference. theatre’s infrastructure. However, you must differing styles and scales, from pyrotechnic Housing interactive installations and be wearing sensible shoes in order for this spectaculars in Dutch underground art displays experimenting with the use of live to be safe. Tours will last no longer than half festivals, jaw dropping street animations in and recorded film, the surveillance van an hour and can accommodate up to 8 Beijing to theatrical mime for the London explores the levels to which an audience delegates at a time on a first come first International Mime Festival. can unwittingly determine the content of the served basis. performance they are watching. … the Characters Paka is a cantankerous old man lost in the Central’s Technical Support twilight of obsession, having misplaced the Department Expo thread between fantasy and reality he is off on his final adventure. A head full of The Technical Support Department of The romantic dreams and a pocket full of nuts Central School of Speech and Drama are and bolts. He is on a quest for love and creating several installations and multimedia sunsets to ride into. A contemporary Don presentations throughout the conference. Quixote armed with roses, pyrotechnic Time-lapse photography of the set gadgets and a tantalising whiff of construction and fit-up processes of recent razzmatazz. productions at Central, will be displayed on Rusty the Horse is visually extraordinary, a the plasma screens around the School. remote control entity that acts as a people The Measurements Book, which forms an magnet. With his own distinct character, important part of Central’s archive will be philosophy and ego, he leaves the audience displayed for the first time. The book feeling they have met an odd but real horse. contains the costume measurements of The theatre and mayhem are derived from students who have attended the School the interaction between Paka, Rusty and the dating back over 50 years. This will be audience. It is in fact a double act albeit one displayed in the Wardrobe department. half is robotic. The characters that inhabit The Embassy Theatre will display all of the this slice of parallel reality have an backstage mechanics that are used during endearing universal relationship, where theatre productions, giving delegates the differences of priority and agenda have opportunity to see the flybars, fly tower and obscured the common goal. The outcome is cages that house lighting equipment. up for grabs….

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Rooms for 'Theatre Materials / Material Theatres' Thursday 17th April 2008

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The TSD TSD Embassy Theatre Registration Keynote Lecture: Anne Bogart perform perform Performativity Tour Tour of Matter

Embassy Studio The Bar of Ideas Reception

Puppetry Studio The Cabinet of Curiosities

New Studio Costume Archive

Studio 2 Knacker's Yard Knackers Yard

Presence and Participatory Performance Studio 1 Representation Performance

Rehearsal Room 1&2 The Entrepreneurial Artist

Acoustic Theatre Rehearsal room 3 Imprints

Rehearsal Room 4 Ali Pretty Ramon Ivars

Clean Rehearsal Room From Prop to Protagonist

Rehearsal Room 5 Life at the Molecular Level

Rehearsal Room 6 Priming the String Machine: The Object as Postdramatic Gesture

Performance Studio 2 An introduction to how we hear the world

Audience: bodies, Rehearsal Room 7 experience, presence

Rehearsal Room 8 The Bunker Project

Room A Object, Presence, Materialities of Absence Performance

Room D Objects and Obstacles

Atrium Bartlett Project

EmbassyTheatre Substage Tesse-laboTTomy

Exhibitons Paper Panel Workshop Keynote Plenary

Roundtable Discussion Residency Presentation Tour

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Registration Roundtable Discussions

9.00 am – 10.30 am Presence and Representation The Entrepreneurial Artist; The Audience Member’s Body Foyer 1.30 pm – 3.00 pm developing the materials of the as Theatre Material Performance Studio 1, West Block entrepreneur within the creative industries. 3.30 pm – 5.00 pm Welcome and Opening A debate on the complex nature of Performance Studio 1, West Block 1.30 pm – 4.00 pm Keynote Speaker international collaborative Applied Theatre Rehearsal Room 1 & 2, West Block projects and partnerships; the opportunities The round table is concerned with the 10.30 – 12.30 and difficulties and ethics of such work. practice and theory of participatory Embassy Theatre This roundtable discussion will explore the performance. It aims to stimulate a Main Building identity of the entrepreneur within the arts. Divya Bhatia (Mumbai, India) and Jeton conversation about the motivations, What must students of performance know in Neziraj (Prishtine, Kosova), two strategies and problematics for performers, order to achieve maximum success, to 'sell' internationally renowned theatre choreographers and makers in creating Welcome their work and their ideas? What role practitioners using theatre within social, participatory performance. How does should undergraduate study play in the Professor Gavin Henderson, educational, community and development participation occur differently in live art, development of this entrepreneurial identity dance and theatre? Why collapse the Principal settings will be working in collaboration with CBE and what might the dangers be? This Central's Applied Theatre students as part distance between performer and audience? discussion will act as a means to set the of an ongoing partnership. Divya and Jeton What skills must the performer adopt? What agenda for these, and many other Introduction will each talk about their current projects in is the significance of the spectator’s body? questions, asking an international body of India and Kosova as well as addressing the How do performers work with space to Dr Sophie Nield educators, artists and recent graduates for complex nature of working with international facilitate audience interaction? Head of CETT and their 'advice' and 'problems'. Conference Director partners in their respective countries. The presentations will be followed with a Co-chairs: Jane Munro and Gareth White Chair: Karl Rouse (The Central School of discussion and debate. The debate will also (The Central School of Speech and Jessica Bowles Speech and Drama) Drama) Course Leader BA Theatre Practice and explore questions around student pedagogies within an international applied Conference Director Elizabeth Bradley (New York University), theatre perspective. Felix Ruckert (Choreographer), Martial David Kirby (Vodafone Chair of Business), Chazallon and Martin Chaput (Projet Gavin Henderson (The Central School of Opening Keynote speaker Co-chairs: Liselle Terret, and Selina InSitu), Ayse Tashkiran (The Central Speech and Drama) Gregg Fisher (The Busby, (The Central School of Speech School of Speech and Drama), Robert Professor Anne Bogart Central School of Speech and Drama) and Drama) Cook (Chi Chi Bunichi), Raquel Meseguer Artistic Director of the SITI Company in (Lost Dog and Punchdrunk), Helen New York and Professor, Columbia Jeton Neziraj, (University of Prishtina), Freshwater (Birkbeck) University - Graduate Directing Divya Bhatia, (Festival Director, Prithvi Program Theatre Festival) Six Real Things

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Paper Panels Object, Presence, Absence interaction and relationship, existing in and have become the concern of a significant and hopes of a group of people for any producing context. Using strategies of movement in the Visual Arts, as highlighted shared experience might be paramount in 1.30 pm – 3.00 pm ‘relational aesthetics,’ this paper attempts to by Nicolas Bourriaud. Human relationships creative decision making for theatre. This is Room A, Main Building (as artist Pierre Huyghe writes) "imagine new have always been the subject matter of the linked to the idea that the presence of scenarios" for theatre and performance. stage, but should theatre makers now be performance, that which focuses and Chair: Stephen Di Benedetto adjusting their focus in order to foreground engages people, can actually be generated (University of Miami) Nesreen Hussein (Royal Holloway, the relationship between performer and by an audience. University of London): Time as Body, spectator, transforming this relationship As a practitioner Michael discusses these Richard Allen (Aberystwyth University): Body as Object, Object as Time: A Case itself into the theatrical event, and theatre ideas using his film of the creative process Performing the Object/Avoiding the of Materiality into a relational medium in which the social for a recently commissioned text based Subject: The Object as Postdramatic This paper will reflect on the practice of Yael becomes performative, and vice versa? theatre event – where he tested these ideas, Gesture. Davids, a Dutch-based Israeli visual artist, implicitly questioning the form of such an Taking Lehmann’s study of ‘postdramatic and one of the 26 artists who took part in John Keefe (London Metropolitan event. theatre’ as a point of departure, and drawing the group exhibition: Memorial to the Iraq University): The Material Body - Actor on the theatre of Taduez Kantor, this paper War at the ICA in May 2007, alongside and Spectator. seeks to attend to the notion of how the Nesreen Hussein. Since 1994 Davids has The performance is predicated on forms of Materialities of Performance object, outside of virtual manipulation, has been experimenting with situations created materiality. It is both ephemeral in itself and the potential of being used as part of a by the interchange between the body and ‘lasting’; the material performance, the 3.30 pm – 5.00 pm postdramatic form. It will consider how an inert matter, mostly familiar objects (such as materiality of memory. Room A, Main Building object might be performed as a domestic furniture) creating an We feel the body(s) at the centre of theatres postdramatic gesture through its materiality interdependency between the two in time as complicit processes. Chair: Joel Anderson and how it is appropriated within the theatre. and space. The paper will focus on the We also see the actor as somatic, playful, (The Central School of Speech and It will therefore frame the object as a visceral materiality of the body in her work and the pretending. This materiality plays also with Drama) and tactile ‘thing’ that is physically and not relationship between human presence and perceptions of the (im)material body. These virtually present in performance. time, drawing on the experience of are the imposed or empathetic bodies Trish Reid (Kingston University): ‘absence’ within a performance space. coming from our own mind as embodied Often associated with the sexually explicit Broderick Chow (The Central School of consciousness (Husserl’s hyletic or ‘lived and violent, Anthony Neilson's work has Speech and Drama): Objects of Audience: bodies, experience, body’). We have then a tapestry of consistently stretched the limits of performance and relational aesthetics: an established practices in playwriting. His presence (im)material bodies, literally and imaginatively alternative strategy for the theatre and always present on stage, a linear procession refusal, or inability, to produce a script prior visual arts. 3.30 pm – 5.00 pm of the arrived and arriving body. If 21st to any given rehearsal period as well as his The ephemerality of performance is key to its Rehearsal Room 7, West Block century dramaturgies and theatres are a practice of directing/devising his own work modern currency. Phelan writes: "the carousel of ‘ghosts,’ coming around and makes him an unusual figure in disappearance of the object is fundamental Chair: Nick Wood around and around decade by decade, such contemporary British playwriting. This to performance’ (Phelan 1993:147), (The Central School of Speech and ghosts have a material presence in the presentation looks in particular at the ways in demonstrating performance's resistance to Drama) images that are (over)familiar yet which Neilson has brought together an inclusion in a system of reproduction. This occasionally force (an)other way(s) of seeing. eclectic array of performance registers and paper contends that performance as Matt Fletcher (Southampton Solent styles in his recent work to produce both disappearing act is inevitably considered as University): Theatre as Relationship. Michael Spencer (Central St Martins): disturbing and pleasurable effects for his ‘past,’ proposing another paradigm drawn on Technology is increasingly being used to Audience & Presence audience. contemporary artworks often grouped under forge virtual or real relationships between Michael explores the idea that the essential the banner of ‘relational art.’ This is people, counter to the perceived atomisation material of theatre is the often overlooked performance as Programme, a nexus of of urban living. Such relational encounters element of audience – and that the desires

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Presentations Andy Smith (International Film School The theoretical problematics of the 21st perform Imagination – Our Nation Wales): Post-dramatic Chekhov: The century focus on intricate ways of Ali Pretty Seagull in Close-up representing the creation of body and Ron Packman (Packman Lucas This research paper will disseminate the identity. The ‘old’, postcolonial binaries of Associates) and Bob Sheil (Director of 2.30 pm – 3.30 pm outcomes of a production exploring how self/other are exchanged for new the Graduate Diploma Programme, Rehearsal Room 4, West Block Chekhov’s play The Seagull can be adapted constructions that apparently encourage Bartlett School of Architecture) as a post-dramatic experience through the heterogeneity and hybridity. However, the Ali Pretty, carnival designer, performance 1.30pm - 1.45pm and 3.00pm - 3.15pm intersection of live performance and new hybrid body is complicated by the artist and exponent of collaborative art Embassy Theatre, Main Building recorded media. In particular, the paper will blurring of the boundaries between the production, defies conventional definition of explore how the use of filmed sequences human and the mechanic. Post-humanism artist maker or craftsperson. Her work (recorded on mobile phones and DV engages with the way in which new embodies all of these aspects and has a perform is the first event in an ambitious camcorders), combined with still technologies stir up questions of ontology, social and political imperative that unites collaboration between two of London’s photography, creates close-up ‘fragments’ discussing the move from the hybrid body her practice. Ali is the founding member and leading creative institutions who have joined of the characters’ fictional lives outside of to a symbiotic one that incorporates, artistic director of Kinetika for which she is a forces to rethink design, fabrication and the narrative of the play. The research internalises technology. The contours of the carnival designer and director. Her talk will purpose of performance spaces. Here, context of the project explores how these human body are redrawn, the skin focus on her work developing two large speculative and preliminary ideas by young filmic ’fragments’ creates the ‘multiple becoming a portal of entrances and exits scale carnival shows Imagination: Our designers are presented as a catalyst to perspectives of the post-dramatic actor’ rather than a barrier. Nation and Din Shuru. propel the commission of a full scale (Colman 2007) that affects the reception This paper will analyse and question the prototype exploring issues of sustainability and meaning of Chekhov’s play. theoretical foundations of post-human and spatial innovation. Talking Materials The paper will include screenings of these representation of the body in two The three aims in creating this space are; Professor Ramón Ivars ‘fragments’, along with a created performances that stress the issue of • To promote greater energy efficiency and soundscape, to explore how the naturalist suspension between human and machine: 3.30 pm – 4.30 pm sustainability in the design and orthodoxy of Chekhovian drama can be Stelarc’s Suspension Piece and Operating Rehearsal Room 4, West Block use of spaces in the performance challenged through the development of the Theatre’s Angel/Babel. industry; ‘post-dramatic’ actor within a multiscreen Ramón is an internationally known set and • To create a space that incubates, excites installation. As Colman notes, the costume designer and Professor of and provokes the creation of ‘electrification of the stage image’ layers an Scenography and Costume Design at the innovative and challenging performance; abstraction upon the actor that creates a Institut del Teatre in Barcelona. In July 2007 • To be a crucible for the dynamic tension between the liminal body and the he was awarded an Honorary Diploma of engagement of education with its mediatised projection. The presentation will Theatre Architecture as Spanish National industries. explore how the systematic use of close-up Curator for the Prague Quadrennial. His talk projections requires the actor to be aware of will be about his relationship to four how the ‘spirit-centre’ of their character is different, found materials not commonly being captured by the invasive presence of found in theatre productions. technology in both the rehearsal process and the final performance.

Carmen Szabo (University College Dublin): Suspended Between Human and Machine – Representations of the Post-Human in Performances by Stelarc and Operating Theatre.

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Participatory Workshops Knackers Yard Acoustic Theatre Imprints An introduction to how we hear Tours of the Embassy Theatre 4.30 pm – 5.30 pm Elizabeth Mills the world Gareth Fry and 12.30 pm – 1.00 pm and Studio 2 University of Cape Town Carolyn Downing 4.30 pm – 5.00 pm 1.30 pm – 3.00 pm 2.00 pm – 5.00 pm Meet outside the theatre. Reconfigure recycled model figures and Rehearsal Room 3, West Block Performance Studio 2, West Block objects to create a new scenographic Reception image. This workshop will draw on the Voice as This workshop will explore how we as 6.30 pm – 8.30 pm Material and Vocal Mise en scène work people and audience members experience Embassy Studio Materials Library practiced at UCT in theatre voice – the world around us through sound and understood as voice work for theatre and as music. Using a mix of practical exercise The Performativity of Matter: Drinks and light refreshments will be served the theatricalisation of the actor’s voice. The and demonstrations we'll look at how our Zoe Laughlin, King’s College in the Bar of Ideas. workshop will use the fundamental imagination affects what we think we hear, Everyone welcome. London methodology of the work as structure and will begin to look at how we can use 5.30 pm – 6.30 pm utilising three phases: this in theatre making. Embassy Theatre, Main Building (i) Entering moments of play that insist on an acoustic experience of the Objects and Obstacles, Materials perform. Stuff is constantly getting ‘materiality’ of sound; Movement for Actors up to things. Matter is doing all of the time, (ii) An exploration of principles for Natalia Fedorova at varying scales of time and space, in order constructing acoustic relationships that to exist and generate the world of objects. are not determined by the structure of Moscow Art Theater School The Performativity of Matter is a language and, 3.00 pm – 5.00 pm demonstration lead exploration of materials (iii) The application of the process to simple Room D, Main Building where the micro is rendered macro, the constructions that relate to fragments of inanimate is shown to be animate, and text or to objects. Objects and obstacles work (chairs, material science meets performance. This is benches, tables, platforms and walls) is a your chance to encounter some of the most part of the movement training in the Moscow wondrous matter on earth; from shape- From Prop to Protagonist Art Theater School. They use acrobatic tricks memory paperclips to magnetic liquids, Rene Baker to develop dexterity, strength, sense of non-Newtonian fluids and radioactive fruit Theatre Institute Barcelona partnership, spatial awareness and bowls, not to mention the lightest solid in responsiveness to outer impulses. They the world. 2.00 pm – 5.00 pm rehearse in a space that is as close as Clean Rehearsal Room, West Block possible to the scenic environment. They try to eliminate all psychologically comforting A practical exploration of the theatrical support – mats etc - as early as possible in possibilities of everyday objects for the training, leaving a student face to face performers and designers. Beyond simply with a bare floor and furniture. At the end of being an actor's prop, objects can articulate the class students improvise their own subtext, function as a sign or metaphor, or movement phrases trying to find unusual come to life as a puppet. ways of working with usual objects.

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Rooms for 'Theatre Materials / Material Theatres' Friday 18th April 2008

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Keynote TSD TSD Embassy Theatre Lecture: Plenary Tour Tour Alan Read

Embassy Studio The Bar of Ideas Exhibitons

Puppetry Studio The Cabinet of Curiosities Paper Panel

Movement Studio Registration Projet in situ Projet in situ Roundtable Discussion New Studio Costume Archive

Tree Workshop Studio 1 Duet

Studio 2 Knacker's Yard Residency

Performance Studio 1 Street Arts and Higher Street Arts: The Olympics Education Models as Catalyst Keynote Instinctive A Rehearsal Room 1&2 Pamela Howard Object Dressmaker Ramblings Presentation What does Greening Rehearsal Room 3 Theatre Practice mean?

Plenary Rehearsal Room 4 Anne Curry Keith Orton

Rehearsal Room 5 Life at the Molecular Level Work in Progress Tour

Rehearsal Room 6 Priming the String Machine: The Object as Postdramatic Gesture

Performance Studio 2 Using Sound in Theatre The Stone Garden

Materialities of Voice, Design, Space, Rehearsal Room 7 Light and Body Utopias

Rehearsal Room 8 The Bunker Project

Puppet, Performance, Material Communities: Room A Process involving the audience

Room D Clowning Objects

Atrium Bartlett Project

Theatre Substage Tesse-laboTTomy

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Registration Roundtable Discussions

9.00 am – 10.00 am Greening the Theatre Street Arts and Higher Education Street Arts and Higher Foyer 11.00 am – 1.00 pm Models Part 1 Education Models Part 2 – Rehearsal Room 3, West Block 11.30 am – 1.30 pm The Olympics as Catalyst? Keynote Speaker Performance Studio 1, West Block 2.30 pm – 5.00 pm The Greening Theatre Round Table at the Performance Studio 1, West Block 10.00 am – 11.00 am Theatre Materials / Material Theatres In recent years, Higher Education colleges Embassy Theatre conference will be primarily concerned with have begun to take an interest in street arts, This roundtable, which follows on from the Main Building the ways in which this subject can become developing training opportunities for young Street Arts and Higher Education round table an integral part of the education and training people interested in working in the sector as before lunch, examines the growing Professor Alan Read of the next generation of theatre well as residencies for artists and relationships and models of best practice King’s College London practitioners: Designers, Managers and professional development opportunities for between the professional and education Makers, and Directors and Performers. more experienced practitioners. For this sectors and how these models of working Proxy Performance: Recalling The panel includes people with expertise roundtable we bring together panellists from can be and should be adopted by the the Social Life of Things in both making theatre and making theatres different institutions, as well as practitioners, London 2012 Ceremonies programme. The - that is both theatre production and theatre to present their models of best practice to roundtable will consider such questions as: architecture - and practitioner/educators the breakout. The panellists will then lead a how should the ceremonies programme working in higher education. discussion about how collaborative models involve students, young people and In this short concentrated session we will of working, between theatre education developing young theatre professionals in aim to produce useful and reliable resources institutions and professional companies, can meaningful roles? How should LOCOG work for students and their teachers and begin to create dynamic environments for learning as with the theatre education sector as a whole build links between those who are already well as opportunities for practitioners to as well as with individual institutions? What working to make Theatre Greener and the develop their work through accessing space proven models of best practice exist? Can individuals and institutions responsible for and expertise. The roundtable will also the Olympics act as a positive catalyst for training the Theatre Makers of tomorrow - a consider what training and professional nurturing and developing new models and project that the Centre for Excellence in development opportunities the Street Arts approaches to training and work experience? Theatre Training will continue to develop. Sector needs. Chair: Martin Green (Head of Ceremonies, Chair: Nick Moran Chair: Julian Rudd (ISAN Coordinator and LOCOG) Director of Remarkable Productions) Anna Beech (London Mayor’s Office), Ben Sam Hunter (Stage Manager, Athens Opening Ceremony and Beijing London Todd (Arcola Theatre), Bob Sheil (Bartlett Liz Pugh (Producer and Director, Walk the Handover), Chenine Bathena (Theatre School of Architecture), Mhora Samuel Plank), Alastair Noonan (The Central Officer, Arts Council England), Ruth Butler (Theatres Trust), Juhi Shareef (Arup) School of Speech and Drama), John Lee (The Central School of Speech and (University of Winchester), Luke Mills Drama), Professor Gavin Henderson (The Central School of Speech and (Principal The Central School of Speech Drama) and Drama), Frank Wilson (Chair of ISAN and Managing Director of Event PAGE 16 International) TheatreMaterialsPRINT 14/4/08 10:49 am Page 17

Paper Panels Materialities of Voice, Light developments in theatre-film scenography how ‘imagination’, ‘energy’ and ‘presence’ and Body than twenty-first century interactive are material components of performance. performance modes. This association with a Theatre as an art is characterized by the 11.00 am - 12.30 pm Vaudevillian aesthetic of bawdy excess has abundant materiality of the medium in the Rehearsal Room 7, West Block challenged the very core of what it means to form of actors, props and scenery. It is also make original devised 21st century invested in the immaterial, making it Chair: Paul Rae (National University of performance work. Mary proposes that this concrete. Peter Brook talks of theatre Singapore) hybridisation of high and low art forms not mediating between the ‘visible’ world and only expands our performance vocabulary, the ‘invisible’ world, and this idea is Elizabeth Mills (University of Cape Town): but questions the value systems that we embodied by the actor who physically and Sonic Materials, Acoustic Spaces and place on different modes of production. materially stands-in for the immaterial Actor Agency… fictional character, embodying their actions. This paper suggests a materialist view of Cormac Power and Matthew Cummins However, when T.S. Eliot complains that human sound traceable through the writing (Northumbria University): Symbolising the perhaps one of the greatest barriers to the of the early moderns (Bloom) through post- Material / Energising the Immaterial: creation of a dramatic poetry may be the structuralism (Barthes) to the present. This ‘Energy’ as a Material Process in actors, he draws attention to a longstanding view applied to voice in the theatre allows Theatrical Experience. distrust of the theatre’s materiality. To the actor’s sound to become a distinct, The paper explores the tensions between consider this apparent contradiction they transforming and transformable sonic the immaterial and the material within will reflect on the notions of imagination, image. The notion of human sound as sonic certain strands of theatre practice. The energy and presence in performance as image and a re-imagining of the acoustic symbolist rejection of the material world will terms which may help to bridge the gap sphere (Caverero) in and through be considered in relation to the work between the material and the immaterial. performance are argued as re-inscribing the Maurice Maeterlinck who developed an actor’s relationship with text/s thus aesthetic (the ‘theatre statique’) predicated Ken Coker (Nottingham Trent University): extending actor agency. on curtailing the ‘energy’ of the performer. Less Wet Water; some observations on They will then consider the relationship lighting design for performance. Mary Oliver (Salford University): And between the material-immaterial dichotomy The paper will examine some strands of That’s Not All Folks: introducing the with actor-training theorists (e.g. Grotowski, philosophy and contemporary cultural cartoon performer. Barba) which centralise the importance of theory and their possible relationship to In beginning to create works which combine ‘energy’. With reference to ideas from lighting design for performance. live performers with digital cartoon neuroscience, the concept of ‘energy’ will characters, Mary Oliver soon discovered be taken as a way of explaining the overlap that the comedy grotesque relationship of between the material and immaterial the human-cartoon-interface has more in dimensions of theatre. common with early 20th century They intend to reflect on how theatre can materialise the immaterial, and in particular

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Puppet, Performance, Process Matt Smith (Liverpool Institute of Design, Space, Utopias Joanna Parker (The Central School of Performing Arts): Why do contemporary Speech and Drama): - to be inhabited 11.30 am - 1.00 pm theatre makers use puppetry as part of 2.30 pm – 4.00 pm spaces Room A, Main Building the stage space? What can students of Rehearsal Room 7, West Block This paper aims to move way from the theatre learn from puppets? deadly certainty of the silent model. It Chair: Cariad Astles (The Central School How do puppets change spaces and Chair: Michael Spencer explores the liveness of improvisational play of Speech and Drama) offer new possibilities? (Central St Martins) in the making of the scenographic image This presentation will explore a particular through drawing and within the model. Greer Crawley (University of Vienna and Rene Baker (Theatre Institute Barcelona): view on contemporary issues about the Using images from a number of Zurich University of the Arts): Letting Materials Speak relation of puppetry to space. Matt will collaborative processes this paper looks at Modelmaking and the Spatial Imagination. Rene Baker presents her work guiding reflect on the 14 years of practice with his the prospective journey of the object and student actors in material and object-led ‘Models and model-like procedures often function as company PickleHerring in relation to the revealers or dissectors of reality, showing things the performer within the to be inhabited space. devising processes. issues around venues and sites. Types of building never could which would remain buried within it.’ It focuses on how the temporal anatomy of architecture used by puppets like, the Robert Harbison an image may be arrived at and discarded Liat Rosenthal (The Central School of bridge, the play-board, the booth, the The stage set and theatre model box are through active encounters with materiality Speech and Drama) tabletop and the street will be considered as often cited by artists and architects as that move the designer away from the pre- This presentation is a reflection on practice, performance sites for the puppet. In inspiration for their own works. This paper occupation with a coherent visual grounded in research undertaken on the MA particular the breakdown in the illusion of will discuss the visual and spatial constructs dramaturgy. Advance Theatre Practice: Puppetry and puppet-performer-audience will be of these models; the intersection of real and Object Theatre course at The Central considered as a new dynamic in imagined spaces and the manipulation of Material Communities: involving School of Speech and Drama. As a contemporary puppetry. scale and materials to create meaning. The the audience practitioner she returns to the same aim is to illustrate how by using scripted questions when entering into the devising design and the poetic possibilities of the 2.30 pm – 4.00 pm process: what value do objects, materials, theatre model, the built environment is re- Room A, Main Building and animation offer in the creation of imagined as stage set. performance? How do they offer meaning Chair: Katariina Numminen on stage? How can they shape the devising Rachel Hann (University of Leeds): process? UnRealised Theatres / Theatres Realised. Jonathan Petherbridge (London Bubble The basis of her investigation With a focus on unrealised Utopian theatre Theatre Company) explores the distinction between architecture of the 1920’s and 1930’s, this Surely one of the most important ‘materials’ the animated object and the paper presents an argument toward from which theatre is made, is people. After puppet, and invites us to establishing three-dimensional visualisation over 30 years making theatre in a wide consider what value the two as a valid research methodology. Specifically, range of settings Jonathan Petherbridge differing forms of animation Rachel will be entering into a discussion on now believes the future health of theatre is present. her investigative studies into the unrealised dramaturgical architecture of the new dependent on a wider definition of who is Meyerhold Theatre (1931 – 1938) and Walter considered a theatre maker and indeed, Gropius’s Total Theatre (1927 – 1934). who owns the artform. Jonathan will be showing film extracts of his Open PAGE 18 TheatreMaterialsPRINT 14/4/08 10:49 am Page 19

Presentations Performance Work with London Bubble The Marriage In Tree Duet, spell#7’s Paul Rae explores our A Dressmaker Theatre Company and present recently Professor Pamela Howard continuing entanglement with trees. Song Jungmin discovered scientific evidence that watching Reversing theatre not only makes the attender feel 11.30 am - 1.30 pm 2.30 pm – 3.30 pm good, but it's good for them too. Rehearsal Rooms 1&2, West Block the current trend for carbon offsetting Rehearsal Rooms 1&2, West Block through tree planting, Paul offsets himself Peter Rumney and Nettie Scriven In this presentation, Pamela Howard will be against a tree to present a theatrical Following a journey of Paper from a dress to (Nottingham Trent University): What is the opening up the process of creating Martinu's meditation on the things trees make us think a flower ‘A Dressmaker’ explores the thing. matter? The matter is that young people comic Chamber Opera The Marriage as both and do. The Paper performs do not think that theatre is ‘for them’… director and designer. The production will be Combining a wide-ranging narrative with The thing as a utensil, as an element, as a The Icarus Project - developed in given its English language première, in a co- the simplest of actions, Paul invents some concept, and as a natural thing collaboration with its intended teenage production between the innovative Opera- tree-lore for the 21st century, and applies it The thing’s life and death audience over a period of 18 months - was Theatre Pittsburgh and The National Theatre to the vexed relationship between our all too And the phenomena of the thing as a theatre short-listed for the THES / ACE Excellence (Narodni-Divadlo) Prague, as part of Martinu human obsessions with nature, power and material & Innovation Awards 2007, and the Brain Revisited Festival 2009. death. As likely to involve tree-throttling as With a pair of Scissors, Thread and Needle, Way Award for young people’s writing (April Always fascinating and often provocative, tree-hugging, Tree Duet is eco-performance a Pincushion, and a Water Spray. 2008). This presentation will include a Pamela’s book What is Scenography has minus the moralizing, and promises a documentary video about the process of been vital reading for young theatre makers provocative, performative response to the young people’s involvement in making across the world. Her session will conclude question of why there is wind. professional theatre. with her reflections about the challenges and priorities for the future, and will be a unique Work in Progress Dessislava Stoitcheva (British Council, opportunity to see her ‘brown paper bag’ Present Attempt Bulgaria) costume designs. How do we find, attract, develop and keep 1.30 pm – 2.45 pm our theatre audiences? How can we keep Tree Duet Rehearsal Room 5, West Block our regular visitors and attract the next Paul Rae, National University generation? How to identify the interests of A chance to see the work in progress of young audiences? What is the role of of Singapore their new project Life at the Molecular Level. ‘chitalishta’ centres? Dessislava Stoitcheva 1.30 pm - 2.30 pm is looking for new ideas and good practices Studio 1 with the students in the Performing Arts Management programme of the National “…only when we sing and dance is there wind; only Academy for Theatre and Film Arts in Sofia when our leaves and branches swing is there wind. in response to these questions. In her Wind mustn’t be so proud.” presentation she will share information Kuo Pao Kun, The Silly Little Girl and the Funny Old about different initiatives in Bulgaria Tree (1987) contributing to the development of future audiences – special theatre programmes, festival events and British Council projects. PAGE 19 TheatreMaterialsPRINT 14/4/08 10:52 am Page 20

Instinctive Object Ramblings Costume Artefacts as Inspiration There is absolutely nothing like The process of developing Sean Myatt - Nottingham Trent Anne Curry the frame of a dame. The Stone Garden Project University 2.30 pm – 3.30 pm Keith Orton - The Central School Cognitiv Arts of Speech and Drama 3.30 pm – 4.30 pm Rehearsal Room 4, West Block 3.00pm – 5.00pm Rehearsal Rooms 1&2, West Block 3.30 pm – 4.30 pm Performance Studio 2 Anne Curry will discuss the inspirational Rehearsal Room 4, West Block Whilst knowing nothing about it, Sean Myatt value of primary research into 'original' Cognitiv Arts will be exhibiting their process was drawn at an early age to the poignancy costume artefacts; primary research was Are we at last entering a period in theatre for their production The Stone Garden. of the meaning in the object. integral to her concept and influential in her when the pantomime is re-emerging as a Exploring their creative practice from all Describing his personal journey, he will process, when designing the costumes for a serious theatre genre? After years of being angles, Cognitiv Arts will be looking at what collate various encounters and experiences promenade production of Cabaret. much maligned and regarded with a certain makes outdoor site specific events with objects and people. amount of disdain, are we now moving into dynamic, exciting and challenging and will Through live demonstration, using a more positive approach? Focussing on be exploring the roles and responsibilities examples from his own practice as a the pantomime dame, Keith intends to needed to create outdoor performance. puppeteer and object and material unpick how this theatre icon might evolve From planning, designing, managing and manipulator, he will look at the process of and what considerations and understanding rehearsing, join them as they delve into how one develops a narrative from the need to be addressed when sculpting and what makes performance. They will also be object or material being used. clothing this larger than life character. Using bringing along their giant puppet Boris, who Examples will range from work done with five of his own productions, he will unpick might just make an appearance! Phillippe Genty to an alka seltzer the reasoning behind the choices he makes committing suicide! and how these observations and understandings might warrant further research.

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Participatory Workshops

Locomotion: the Ability To Move From One Using sound in theatre - practical Tours of the Embassy Theatre Place To Another Or Locomotion : low-fi techniques for beginners action De Se Deplacer D'un Lieu A Un Autre 1.00 pm – 1.30 pm and (Synonymes: déplacement, Voyage, Gareth Fry and Carolyn Downing 4.30 pm – 5.00 pm Marche, Traction, transport) 11.30 am – 2.00 pm Meet outside the theatre. Performance Studio 2, West Block Projet in situ Company - Martin Plenary Chaput and Martial Chazallon Through a series of fun practical exercises 5.00 pm – 6.00 pm different techniques of creating space using Embassy Theatre 11.00 am - 1.00 pm sound will be explored, creating palettes of and 2.30 pm - 4.30 pm sound and incorporating sound into Movement Studio and outside performance. You do not need to have Participants must attend both sessions come to yesterday’s workshop.

The workshop will start by exploring Is it real or are we pretending? locomotion techniques developed to guide Jon Davison a blindfolded person and will allow participants to explore perceptions whilst Creative Research Fellow, blindfolded. The participants, still The Central School of Speech blindfolded, will then explore fundamental in and Drama notions of contemporary dance specifically relation to the other, to space and 2.00 pm – 5.00 pm kinesthetic perceptions (muscular tension, Room D, Off the Atrium relaxation, joint movements, different body positions, direction, dynamics, deceleration, This practical workshop will look at how static positions, balance). clowns approach objects. Clowning takes They will be asking the following questions place on the one hand in the literal, material – ‘how do we re-encounter our own senses, world, where things are what they are (‘a our memorial capacities and revisit memory spade is a spade’). This is due to the and emotions?’ and clown’s inherent honesty and openness, ‘How might we understand, and then reject where all is laid bare. On the other hand, the influences of our daily environment on clowning may reach flights of the most use of our perceptions?’ absurd fancy, where anything is whatever you want it to be (‘a spade is not a spade’). This is due to the clown’s freedom to step over any boundaries. So, what is the connection between reality and pretence? And how do we travel from one to the other? PAGE 21 TheatreMaterialsPRINT 14/4/08 10:52 am Page 22

CETT: Theatre Materials year 2007 - 08

Curriculum Projects

This year CETT has enabled the staff and Complicite Theatre Company Handspring Puppet Company students of Central to work with a number of internationally renowned companies and CETT supported an exciting partnership This award winning company made a huge their work has been creatively documented between Complicite and staff and students impact with their co-production of the War in order that the exciting discoveries can be from BA Acting: Collaborative and Devised Horse with the National Theatre this year. shared with a wider audience. A brief outline Theatre and BA Theatre Practice to create Productions by this South African company of some of these projects follows; an original devised piece of work. have featured at leading international The Boy from Centreville was based on the theatre and opera venues with Directors like events of 16 April 2007, when Seung-Hui William Kentridge and Marthinus Basson. Cho, a Korean student, killed 27 students The company only chose to do one and 5 Faculty members at Virginia Tech workshop in the UK and this was at Central, University in the most deadly school where Basil and Adrian ran a week’s shooting in U.S. history. residency with the BA Theatre Practice In the Autumn of 2007, second year puppetry students. In just five days the students worked with Complicite’s associate company working with their key maker Thys designers, Gareth Fry (Olivier award winning Stander created a giant puppet and shared sound designer), Finn Ross (Projection) and their working process. Paul Anderson (Lighting). Central Tutor, Catherine Alexander, an associate director with Complicite, was the director. Developed out of initial skill sharing workshops, through an innovative period of theatrical creation which aimed to integrate the devising and design processes and the process was documented throughout the term by Dan Rack, a film maker.

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Kinetika

Inspired by Derek Walcott’s vision ‘The only nation I have now is my imagination’, Kinetika adapts a theme over the next five years that explores cities of the future with young people across the UK and beyond. It combines elements of carnival, street arts, music, circus, theatre and digital arts that build each year and creates a legacy of talented new artists that are able to work across cultures and art forms. In 2008, they start with GermiNation – the seeds are sown… CETT enabled a research and development project with BA Theatre Practice performance arts students to explore these themes which have been documented by Jevan Chowdury, who is a regular collaborator of Kinetika. The resulting footage is now in use as a teaching aid, as well as forming a crucial part of the project’s ongoing development.

There are further curriculum projects in development, which have outcomes in the next few months.

These are; The Accidental Festival at the ICA – 14 -16 May The Life of Pi at the Minack Theatre Cornwall – 17 -20 June

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Issues in Theatre Training

CETT has instigated a series of important Graeae Project Feminist Neo-Burlesque projects concerning key issues of concern Performance-Presentation to theatre trainers. This year we have This partnership between Graeae Theatre focussed on issues dis/ability, and dyslexia Company and CETT, in a major enquiry, Gender is one of the key materials of theatre – future projects will examine body image explores issues of inclusiveness, access and all students need to question their own and access to theatre training. and theatre training for students with understanding of this as a subject area. disabilities. This collaboration is part of Into This one-day performance-presentation, the Scene, funded by the Arts Council convened by Central Tutor and neo- England. burlesque performer Liselle Terret, brought Roundtable discussions between Central together theatre makers, theatre thinkers staff and Graeae explored the issues of and theatre students for the first event of its recruitment and training of students with kind in the UK. Academics from around the physical and / or sensory disabilities in UK contributed to a discussion panel, and mainstream theatre education. Graeae also were joined by performers and producers of led a workshop with teaching staff using neo-burlesque. It wasn’t all talk…. disabled actors. This enquiry has modelled International Neo-Burlesque performers what institutions involved in theatre training presented their work in the evening, which should be aware of in order to work demonstrated a variety of styles that effectively to truly open access to all. challenged current perceptions of neo- Central will be leading the way with HR to burlesque. create templates for future working practice.

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Other Projects

Stratospheric Speakers Student Puppet Festival Students and CETT

CETT is able to support special events and CETT, working with Central’s Puppetry Tutor, The active engagement of students in visiting speakers. This year we have Cariad Astles, ran the second Student developing the pedagogy of their disciplines welcomed Central’s Visiting Professor Matt Puppet Theatre Festival in March this year, is a unique part of CETT’s mission. We are Adams of Blast Theory, ORLAN and we will and welcomed student puppet theatre very proud of the work our students make soon welcome US Theatre Director Richard companies from the UK and beyond. The and believe that they both export good Foreman as a special sponsored guest to work was varied, experimental, thought- practice when they work outside the The Accidental Festival, curated by second provoking and intelligent, using all forms of institution and when they bring that year BATP performance arts students at puppetry in both completed works, and experience back. All their colleagues the ICA. works in progress, and the festival offered benefit from a refreshed perspective, an opportunity for puppetry students from Graduate Residencies benefitting our whole academic community. across the country to share work and practice, as well as the chance to network CETT has been pleased to facilitate two In January this year, CETT launched the with one another and engage in workshops schemes this year. The first exciting student ambassador scheme and already it and talks from prominent professionals. development has been running in has enabled students to undertake work partnership with the Puppet Centre Trust at with high profile companies and settings CETT will be supporting the presence of the Battersea Arts Centre. CETT Bursaries that would otherwise have been impossible work from this festival at this Summer’s enabled five young companies to be based for the students to afford. It has borne fruit Bialystock Puppet Theatre Festival in at the centre and mentored by the centre’s already this year with students working in Poland. director, Natalie Querol. The scheme, which residence with companies like LePage’s Ex aims to offer accelerated career and Machina and taking work to international professional advancement for emerging conferences and symposia. artists, has seen the first bursary holders secure performance opportunities and funding to support their future work. Also, CETT has hosted three Resident Companies at Central: The Factory, Present Attempt and Tessellate Theatre. The Factory regularly performs their Hamlet at venues around London; Present Attempt and Tessellate are both presenting work at Theatre Materials.

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Biographies

Richard Allen Anna Beech in collaboration with facilitators from India, the UK She has worked for artists as a manager and agent, Martial Chazallon (Paper Panel: Thursday, 1.30 pm – 3.00 pm) (Roundtable Discussion: Friday, and South Africa. His theatre work incorporates a and occupied a senior management position for the (Roundtable Discussion: Thursday 3.30 pm – 5.00 Richard Allen is Research Assistant to Professor 11.00 am – 1.00 pm) strong commitment to the education field where he is Stratford Festival of Canada. Bradley was pm and Participatory Workshops: Friday Adrian Kear at the Department Of Theatre, Film and Anna Beech is Project Officer for Mark Watts, the in demand as a facilitator of site-specific instrumental in the creation of the Inaugural 11.00 am – 1.00 pm and 2.00 pm – 4.00 pm) Television at University of Wales, Aberystwyth where Mayor of London's Climate Change Adviser. In 2007 performance, performance appreciation and self- International Arts Forum in Beijing in 2001, and she Since the creation of ‘Wake Up!’ in South Africa in he is undertaking a PhD in Performance Practice. He Anna was involved in the development and launch of awareness workshops. was the Artistic Director of the first Pittsburgh 2000, Martial Chazallon has been exploring has a MA in the Visual Language of Performance from London's Climate Change Action Plan, the target of International Festival of Firsts in 2004. reinvesting urban spaces through art installations and Wimbledon College of Art and a BA in Drama from which is to reduce greenhouse gas emissions by 60 Anne Bogart dancers’ bodies, and how creative processes can the University of Exeter. He is the founder and Artistic per cent by 2025. Anna works on a number of climate (Keynote Speaker: Thursday, 10.30 am – 12.30 pm) Selina Busby work to transform places and their original purposes. Director of Things On Fire. His blog can be found at: change related initiatives, including Project Managing Anne Bogart is an American theatre director. She has (Roundtable Discussion: Thursday, This has been the starting point for choreography richvizlang.blogspot.com the development of a Climate Change Action Plan for a BA degree from Bard College and a Master’s from 1.30 pm – 3.00 pm) which he has then developed with dancers and London's theatre. New York University's Tisch School of the Arts. She Selina Busby is course leader for the MA in Applied choreographers from Mexico (Antonio Salinas), Joel Anderson co-founded the Saratoga International Theatre Theatre at the Central School of Speech and Drama. Canada (Daniel Soulières) and Mozambique (Panaibra (Paper Panel: Thursday 3.30 pm – 5.00 pm) Petrus Bertschinger Institute with Tadashi Suzuki in 1992, and is currently Previously she taught drama and performing arts in Gabriel), and the plastic artists Maciej Fiszer, Joel Anderson is course leader on the MA Theatre (Roundtable Discussion: Friday, 11.00 am – 1.00 pm its Artistic Director. Before founding the SITI further education colleges, as well in schools and Maryvonne Arnaud, and Berry Bickle. Studies at the Central School of Speech and Drama. and 2.30 pm – 5.00 pm) Company, she was the president of the Theatre prisons and has directed both youth theatre and TIE He previously worked at the Théâtre de l’Opprimé in On graduating from the Central School of Speech and Communications Group. A recipient of a Guggenheim productions. She has recently co-written (with Dr Broderick Chow Paris and HMP Pentonville, and has performed, Drama in 1984, Petrus started his career as an acting Fellowship, she is an Associate Professor at Stephen Farrier) ‘Queering Kane’ in Alternatives (Paper Panel: Thursday, 1.30 pm – 3.00 pm) directed and lectured in a variety of contexts ASM for Oxford Stage Company. Since then he has Columbia University, where she heads the graduate Within Mainstream II: British Postwar Queer Theatres. Broderick Chow is a PhD student at the Central (including projects in the UK, France, Morocco, Brazil worked in Stage Management and as Production directing programme. She has won two Obie awards Recent conference papers include ‘Utilizing A Global School of Speech and Drama, and a stand-up and Burundi). He trained at the Ecole Jacques Manager for a wide range of different companies in for Best Director: for No Plays No Poetry But Vision to Safeguard the Local Village’ (IDEA World comedian, performer and writer. His main research Lecoq, and studied at the University of Paris VIII. He every kind of theatre in the UK and abroad. This Philosophical Reflections Practical Instructions Congress, Hong Kong, 2007) and ‘Living with the interests are ‘open artworks,’ the remix, and relational is completing a PhD at Queen Mary, University of included three years for Matthew Bourne and five Provocative Opinions and Pointers From a Noted enemy. Towards not reconciling the state with queers, aesthetics—and the application of these visual art London and is Working Groups co-convener of the years as Technical Director of Covent Garden Festival. Critic and Playwright (1988) and for The Baltimore trannies and children’ (Performance Studies and curatorial practices to performance, specifically Theatre and Performance Research Association. In 1995 he joined the Unicorn Company at the Arts Waltz (1990). In 1984 she was also honored with the International #12). stand-up comedy. He is one of four creators of the Recent publications include articles for Contemporary Theatre, production managing twenty-five shows Bessie Award for Choreographer/Creator for her work comedy/art project Homework for Heroes and runs Theatre Review and About Performance. before becoming Planning and Operations Director— with South Pacific. Bogart helped to develop the Ruth Butler the monthly comedy club Justice League of Comedy. working directly with the architects and consultants theatrical technique of Viewpoints, which she (Roundtable Discussion: Friday, 2.30 pm – 5.00 pm) As a comic, Broderick performs in London and on UK Cariad Astles on the design and realisation of the new Unicorn incorporates in much of her work. In addition to Anne Ruth attended Central School for Speech and Drama circuits (including clubs such as Downstairs at the (Paper Panel: Friday, 11.30 am - 1.00 pm) Theatre at London Bridge. Bogart: Viewpoints, she has written And then, you and graduated in 2007 with a BA (hons) in Theatre King's Head, Oxford's Free Beer Show and UCL's Cariad Astles is Puppetry Tutor on the BA in Theatre act; A Director Prepares (alluding to the title of Practice, specifically in Stage Management. During Ministry of Comedy). Practice at the Central School of Speech and Drama Chenine Bhathena Stanislavski's seminal acting manual, An Actor her time there she stage managed various theatre and and is also a practitioner and researcher of puppet (Roundtable Discussion: Friday, 2.30 pm – 5.00 pm) Prepares); and The Viewpoints Book (co-authored) in events projects including ‘Bollywood Steps’ (Nukhut Cognitiv Arts theatre. She previously taught at the University of Chenine Bhathena is Theatre Officer at Arts Council which she outlines her theories of and approaches to Dance Company 2006 and 2007), ‘The Caged Birds’ (Presentation: Friday 3.00 pm – 5.00 pm) Plymouth and has research interests in writing and England’s London office where she leads the strategy making theatre. (Ubiquity Theatre Company), ‘The Snow Queen’ Cognitiv Arts are an emerging production company puppet theatre; puppet theatre and cultural identity for circus and street arts. She is completing ACE’s (Theatre Royal Stratford East and the Greenwich and currently based at The Central School of Speech and (especially in Catalonia, where she lives and works new outdoor arts strategy and is the national lead for Jessica Bowles Docklands festivals, 2007). Roles whilst at university Drama. Cross collaborative and cross disciplined, part-time); popular performance forms including Latin youth circus development. Since 1999 she has co- (Welcome: Thursday, 10.30 am) include productions of ‘The Speculator’, ‘Semi- Cognitiv Arts aim to create exciting, innovative American carnival; and puppetry for development. produced Circelation, a performance laboratory for Jessica Bowles has designed sets and costumes for Monde’ and ‘The Comedy of Errors’. Since graduating productions that are bursting mix of installation, She has published articles in Contemporary Theatre contemporary circus artists and directors the RSC, Young Vic, television and film. Recent she has worked on ‘Smilin’ Though’ at the Drill Hall, performance and puppetry. Review, African Theatre Journal and international (www.circelation.co.uk). She was a joint Managing creative producing includes associate producer for and most recently ‘Mile End’ at the Southwark Specialising in outdoor events and performances, puppetry journals. She also performs regularly in Director of Bhathena-Jancovich and Director of CB Deep End, directed by Gerry Pilgrim at Marshall Playhouse and its national tour. She was nominated Cognitiv Arts believe in working as collaboratively as Catalonia with her own company. Projects. She produced and managed small- and Street Baths, and numerous productions featured at for the Stage Management Association Individual possible with each other and as individuals have mid-scale touring theatre and dance productions international festivals. At the Central School of Award in 2007 for ‘Bollywood Steps’. branched across many genres of theatre, for example Rene Baker including visual and physical theatre, dance, circus Speech and Drama she leads the BA Theatre Practice into education workshops, carnival, puppetry, (Paper Panel: Thursday, 11.30 am - 1.00 pm theatre, new writing, young people’s theatre, culturally course, which she developed and which introduced Martin Chaput corporate events, costume, festivals, design and and Participatory Workshop: Thursday, diverse performance, site-relevant work and street degree study in puppetry and circus to the UK. She (Roundtable Discussion: Thursday 3.30 pm – 5.00 many West End theatres. 2.00 pm – 5.00 pm) theatre. She has promoted productions from co-organised the OISTAT Education Commission pm and Participatory Workshops: Friday Company members are – Leanne Curtis (Artistic Rene Baker is a specialist in puppet and object Australia, Canada, Spain, Russia, Israel and South event in London (2006), is active in the ACTD and 11.00 am – 1.00 pm and 2.00 pm – 4.00 pm) Director), Alice Kentish (Puppeteer/Assistant Director), theatre, and during the past twenty years has worked Africa and helped initiate the first Total Theatre curated the 'Collaborators' masterclass programme at After training in dance in Montreal, Martin Chaput Naomi Young (Stage Manager), Charlotte Hayday as a performer, designer, director, pedagogue, Awards (Edinburgh 1997). the V&A. She is a board member of the Puppet worked in France with Jean-Perreault, Philippe Genty, (Producer), Alice Pillar (Designer), Georgina Alexander researcher and consultant. Since 1998 she has been Centre and co-creator of the first Student Puppetry Claire Jenny, Thierry and Marion Bae, Luc Perrot and (Technical Supervisor), Dominic Yates (Lighting developing training for bringing inanimate material to Divya Bhatia Festival (Central, 2007). Rémi Uchéda. Since 1999 he has created his own Design). life, and has led workshops in England, Norway, (Roundtable Discussion: Thursday, projects in which he questions the privacy of the Finland, Spain and Estonia. Between 1998 and 2005 1.30 pm – 3.00 pm) Elizabeth Bradley dancer, his cultural and social identity in a Ken Coker she taught regularly at the Central School of Speech Divya Bhatia is a creative professional with skills, (Roundtable Discussion: Thursday, choreographic research of intimate and urban (Paper Panel: Friday 11.00 am - 12.30 pm) and Drama, and since then at the Institut del Teatre, versatility and experience in many arts disciplines. He 1.30 pm – 4.00 pm) corporality. Ken Coker is a lighting designer, production Barcelona. is a core member of the organising committee and Elizabeth Bradley is Head of the School for Drama at electrician and PhD student at Nottingham Trent head of the theatre programme of ‘Celebrate Bandra’, Carnegie Mellon University, and is programming University. He is currently looking at how a multi-arts festival in a suburb of Mumbai. Divya is consultant to the National Arts Centre in Ottawa. Prior contemporary cultural theory might influence lighting also the Festival Director at the Prithvi Theatre to this, she was CEO of the Hummingbird Centre for design and why such theory is absent from the Festival. As the National Coordinator for Phakama, a the Performing Arts in Toronto. Producing credits epistemology of lighting design. youth project designed to impart skills in the include Tony-nominated Broadway productions, performing arts through informal methods, he works Edinburgh Festival premieres and extensive US tours. PAGE 26 TheatreMaterialsPRINT 14/4/08 10:56 am Page 27

Robert Cook Anne Curry student of Andrey Drozin and worked for several Gareth Fry built the Wilde Theatre. Director of the Brighton (Roundtable Discussion: Thursday (Presentation: Friday 2.30 pm – 3.30 pm) years as his chief assistant teaching his extraordinary (Participatory workshops: Thursday, 2.00 pm – 5.00 Festival for ten years, he has been Chairman and 3.30 pm – 5.00 pm) Anne Curry is a freelance designer; she has a degree system of movement. As well as her work at the pm and Friday, 11.30 am - 2.00 pm) President of both the British Arts Festival Association Robert Cook has devised and performed with seven in Theatre Design. Her postgraduate studies include a Moscow Arts Theatre Academy, she has also taught Gareth Fry trained at The Central School of Speech and the European Festivals Association. In 1994 he sisters group and Marie-Louise, choreographed for Higher Diploma in Fine Art, specialising in Theatre at the Carnegie-Mellon University School of Drama, and Drama in theatre design. His recent work as a became Principal of Trinity College of Music and contrived & exaggerated and The Gentle People and Design at the Slade, and an M.A. in Education and the Institute for Advanced Theater Training at Harvard, Sound Designer includes: Shun-kin (Complicite), effected the merger with the Laban Centre for Dance. movement directed for Lorraine Bowen. Projects with Professional Development from U.C.E. Birmingham. Fordham University, the Actor's Studio, Princeton Black Watch (National Theatre of Scotland), Women He was a member of Arts Council England and Elina Manni include co-directing Whatever Happened Anne is Senior Lecturer in Costume Design and University and the Stanislavsky Summer School of Troy (Lyttleton Theatre), The Overwhelming (Laura Chairman of its Music Panel; in 1998 he established to our Revolution? for the ‘Get Together (again)’ event Interpretation on the B.A.(Hons) programme in (Cambridge, Massachusetts). Pels Theatre, NY), Jump and OK Computer (Radio 4) the ACE lottery-funded charity Youth Music. He has at the Royal Court. He played the title role in Uncle Theatre Design at Nottingham Trent University. In Gareth works extensively with companies such as been awarded the Sir Charles Groves Award, the Vanya for Theatre Nomad, and has acted and danced addition, she works extensively as a visiting lecturer Gregg Fisher Complicite, Katie Mitchell, Out of Joint, Royal Court, British Academy of Composers and Songwriters Gold for ENO and ROH. He co-devises and performs in on degree and postgraduate programmes at (Roundtable Discussion: Thursday DV8 and Fabulous Beast Dance Theatre. He won the Badge and a CBE for services to the arts. Martha & Arthur, a physical theatre/cabaret hybrid. He H.E.Institutions across the U.K. Anne's subject 1.30 pm – 5.00 pm) Laurence Olivier Award for Sound Design in 2007 for has worked extensively as a walk-about performer at specialism is costume design; she is interested in Gregg Fisher is Senior Lecturer in Theatre Sound Waves. Future projects include: Fram (Olivier Pamela Howard corporate events and street theatre. Robert is visual research: character interpretation and design Design at The Central School of Speech and Drama. Theatre), The City (Royal Court), Rosmershom (Presentation: Friday, 11.30 am - 1.30 pm) currently performing with Chi Chi Bunichi and the development via freehand figurative drawing. He studied music composition and has been a (Almeida) and The Idiot (Cottesloe Theatre). More info Pamela Howard is Professor Emeritus of the street theatre show Mr. Wippy and the Conettes. recording engineer and resident composer (for at www.garethfry.co.uk. University of the Arts, London, and a visiting Jon Davison instance with Northern Moon Productions). He professor at Royal Holloway and Belgrade’s University Greer Crawley (Participatory Workshop: Friday 2.00 pm – 5.00 pm) coordinated and co-designed the SoundPark Martin Green of the Arts. She has realised over two hundred (Paper Panel: Friday, 2.30 pm – 4.00 pm) Jon Davison has twenty-five years of experience as a Exhibition at the 2007 Prague Quadrennial and is a (Roundtable Discussion: Friday, 2.30 pm – 5.00 pm) productions as a stage designer, in the UK, Europe Greer Crawley is a practising designer and pathway performer, clown, director and teacher. He is a co- member of the Sound Working Group of OISTAT and Martin Green started his career in the events industry and the US, including site-specific works with the late leader within the BA (Hons) Spatial Design course at founder of the Escola de Clown de Barcelona, and USITT. Among his many sound design and in PR agencies and then at ITV. He spent five years in John McGrath. She wrote, directed and was visual Buckinghamshire New University College. With a AHRC Fellow in the Creative and Performing Arts at composition credits are Sarajevo Story (Lyric Ken Livingstone’s events team, becoming Head of artist for The New Jerusalem and recently designed background in fine art, theatre and landscape design, the Central School of Speech and Drama, where he Hammersmith Studio); Once I Was Dead (UK); Blasted Events for London. In that position he was and directed The Greek Passion for the Opera of she has worked as an exhibition curator, director and recently began a three-year research project (Graeae, UK Tour, Soho Theatre); Throat (New York responsible for producing high-profile events such as Thessaloniki. She was Artist in Residence at designer. She has lectured on a range of subjects investigating contemporary clown performance and and US Tour); and Here’s What I Did With My Body the London New Year’s Eve fireworks as well as a Carnegie-Mellon University in 2006 and her book including ‘Performing Modernism—staging the city’ clown training as a complete actor-training method. One Day (Pleasance and UK Tour). range of community festivals and one-off events in What Is Scenography? is published by Routledge and ‘Aerial scenography: the trajectories of flight in As a performer he has appeared in numerous Trafalgar Square (including Diwali and the Scissor (2001). performance’. She is currently undertaking doctoral theatres, festivals, tents, cabarets and streets around Matt Fletcher Sisters). Martin then went to The 02 (formerly the research into Strategic Scenography (the construction Europe. (Paper Panel: Thursday, 3.30 pm – 5.00 pm) Millennium Dome) as Director of Events and oversaw Sam Hunter of alternative terrains) at the University of Art and Matt Fletcher is Associate Senior Lecturer in the reopening of this venue. As Head of Ceremonies (Roundtable Discussion: Friday, 2.30 pm – 5.00 pm) Design at HGKZ Zurich and the University of Vienna. Stephen Di Benedetto Performance at Southampton Solent University. For for London 2012, he will build and manage the team Sam Hunter was the Production Stage Manager at (Roving Reporter) twenty years he worked as a freelance actor, writer that produces the handover ceremony in Beijing the opening and closing ceremonies, Manchester Matthew Cummins Stephen Di Benedetto is an Assistant Professor of and director in a variety of community contexts, 2008, the Torch Relay, Medal, Welcome, opening and Commonwealth Games, and also at the Athens (Paper Panel: Friday 11.00 am – 12.30 pm) Theatre History & Theory at the University of Miami developing a particular interest in the role of the closing ceremonies of the Olympic and Paralympic Olympic Games and Turin Winter Olympic Games. Matthew Cummins is a performance lecturer, actor and the Book Review Editor (North America), for spectator and techniques of audience participation. games. and director specialising in physical approaches to Theatre Research International. Current researches Having completed a Masters in Arts in the Nesreen Hussein performance. Matt is currently researching the explore scenographic design in various cultural Community, he is currently studying for a PhD from Rachel Hann (Paper Panel: Thursday,1.30 pm – 3.00 pm) overlaps between a diverse range of performance contexts, and examine the ways in which the five the University of Glamorgan, focussing upon (Paper Panel: Friday, 2.30 pm – 4.00 pm) Nesreen Hussein is a PhD student in the Department techniques – Stanislavski, Grotowski, Artaud, Barba, senses are harnessed by artists in performance from participatory performance. He is co-founder of Rachel is engaged in a doctoral study on the of Drama and Theatre, Royal Holloway, University of Meyerhold – identifying their meeting points in the a both a phenomenological and physiological Southampton-based arts group ARTIFICE, with whom application of three-dimensional visualisation London. Coming from a scenographic background, pursuit of ‘unified’ field of performance training and perspective. He has convened Scenography Working he undertakes frequent experiments in methodologies for theatre research. Her work her current research interests lie in assessing the methodology. Presence and energy play key roles in groups with the International Federation for Theatre psychogeographic and relational performance. On explores the research processes involved in status of the human body in relation to the inanimate, this new methodology. Research and American Society for Theatre Research. occasion, he also breathes fire. visualising unrealised Utopian theatre architecture of material object as they share performance space. the 1920’s and 1930’s, such as Kiesler’s Endless Aldona Cunningham Carolyn Downing Helen Freshwater Theatre (1926), Bel Geddes’s Repertory Theatre Ramón Ivars (Installation: Thursday and Friday) (Participatory workshops: Thursday, 2.00 pm – (Roundtable Discussion: Thursday (1929), Gropius’s Total Theatre (1927-34) and the new (Presentation: Thursday, ?) Aldona Cunningham, Lecturer in Scenography at the 5.00 pm and Friday, 11.30 am - 2.00 pm) 3.30 pm – 5.00 pm) Meyerhold Theatre (1930-38). Rachel has a Ramón Ivars has been working since 1972 as a set Central School of Speech and Drama, trained at Carolyn Downing trained at City College Manchester Helen Freshwater works as a dramaturg and is background as a performer, director and and costume designer for ballet, opera and drama Central St. Martin’s. She has designed operas such and The Central School of Speech and Drama. She Research Fellow in Theatre Studies at Birkbeck choreographer as well as undertaking roles in theatre and as a director for the stage, TV and film as Cosi Fan Tutti (Scottish Opera and the Brighton has designed sound in venues including the Royal College, University of London. She holds a PhD from set construction, lighting design and digital projection throughout Europe. He received the Catalan National Festival) and Visitato Sepulchri (James MacMillan for Dramatic Theatre (Sweden), Young Vic, Tricycle Edinburgh University. Her work focuses on twentieth- for performance. Theatre Award in 1982. He designed the opening and Scottish Chamber Orchestra); her work ranges from Theatre, Royal Court Theatre, Salisbury Playhouse, century British theatre and contemporary closing ceremonies of the Paralympic Games in designing plays to adaptations and devised Sheffield Crucible Studio and the Donmar Warehouse. performances, with special interest in historiography, Gavin Henderson Barcelona 1992. He is Professor of Scenography and productions in range of settings. Her long-term For the Royal Shakespeare Company her sound the politics of performance, audience response and (Welcome: Thursday, 10.30 am, Roundtable Costume Design at the Institut del Teatre in collaboration with Julia Bardsley included 12/Stages, designs include The Winter’s Tale, Pericles and Days British physical theatres. Theatre and Audience is discussion: Thursday, 1.30 pm - 4.00 pm and Barcelona. In July 2007 he was awarded an an installation using objects, photography, film and of Significance and she has also worked with Shared forthcoming from Palgrave Macmillan. A contributing Roundtable Discussion: Friday, 2.30 pm – 5.00 pm) Honorary Diploma of Theatre Architecture as Spanish performance art. She is currently researching Experience and Out of Joint. editor to New Theatre Quarterly, she is co-convener Professor Gavin Henderson is Principal of the Central National Curator for the Prague Quadrennial. creativity and design pedagogy, and is regularly of the London Theatre Seminar and serves on the School of Speech and Drama and Artistic Director of invited to workshops on the collaborative process Natalia Fedorova board of SHAMS, the Cambridge physical theatre the Dartington International Summer School. with Improbable and other companies. (Participatory Workshop: Thursday, company. Previously he served as Artistic Director of the York 3.00 pm – 5.00 pm) Festival and Mystery Plays, Chief Executive of the Natalia Fedorova is a stage movement teacher at the Philharmonia Orchestra, and Director of South Hill Moscow Arts Theatre Academy. Natalia was a Park Arts Centre at Bracknell where he conceived and PAGE 27 TheatreMaterialsPRINT 14/4/08 10:56 am Page 28

Biographies - continued

John Keefe John Lee Lizzie Hopley, sound designer Tom Hall, activist/artist Jane Munro on questions of space, theatricality and (Paper Panel: Thursday, 3.30 pm – 5.00 pm) (Roundtable Discussion: Friday,11.30 am -1.30 pm) Steve Crozier, performers Catherine Dyson, Selina (Roundtable Discussion: Thursday representation in political life and the law, and on John Keefe is a lecturer in theatre-performance-film, a John Lee is a lecturer in the Performing Arts Papoutseli and Jon Spooner and production manager 3.30 pm – 5.00 pm) nineteenth-century magic shows. theatre director and performance dramaturge. He is department at the University of Winchester, with Haidee Carpenter - as well as other creative artists Jane Munro has performed in dance and theatre presently a Senior Lecturer in SJCAMD teaching areas including street arts, clowning, site and assistants who have been involved in the project. pieces such as I’m Going Outside and I May Be Alastair Noonan Undergraduate Centre, London Metropolitan specific performance, creative enterprise and other See www.metisarts.co.uk. Thanks to Arts Council Some Time (Cathy Turner, Phoenix Theatre, Exeter), (Roundtable Discussion: Friday, 11.30 am - 1.30 pm) University, and Field Lecturer in Theatre Studies and topics. He is funded by the Arts Council, the England and the Heritage Lottery Fund for making the Noise Memory Gesture (Ross Brown). She teaches at Alastair Noonan began a career in theatre at Poole Film Studies, Queens University (Canada) Gulbenkian Foundation and the Millennium project and research possible. The Central School of Speech and Drama, having Arts Centre before becoming Deputy Technical International Study Centre. His most recent Commission to research performance installations. He recently completed a doctorate entitled Dance as Manager at the Donmar Warehouse. He has had a publications are the 2-volume project Physical also undertakes performance research with Elizabeth Mills Encounter. Her dance theatre works include the site- varied freelance career working in the West End and Theatres: A Critical Introduction, and Physical Misguided Tour - a site specific comic tour using (Participatory Workshop: Thursday 1.30 pm – 3.00 specific piece Dress (Plunge Club, London), dance around the UK. He has also worked on outdoor Theatres: A Critical Reader (Routledge 2007), co- fictional / non fictional interface. pm and Paper Panel: Friday 11.00 am - 12.30 pm) film Mine (Dance on Screen Festival, the Place) and shows and festivals, including a lighting installation for authored and co-edited with Simon Murray. He is a consultant to Kneehigh Theatre Company and Liz Mills is a senior lecturer in the Drama Department the interactive dance installation Wardrobe: a dance the Royal Victoria Docks (opposite the Millennium Recent papers include 3 ‘interventions’ on others. In the past, he has received awards from at the University of Cape Town where she teaches in your shoes at Chisenhale Dance Space. She and Dome) for New Year’s Eve With Julian Rudd he dramaturgies of the body and the spectator at the AHRC to pursue postgraduate studies as well as theatre voice, acting and directing. She convenes the Gareth White are undertaking research on a new work created the much-imitated Enchanted Forest for the European Dramaturgies in the Twenty-First Century bursaries from Arts Council as writer. postgraduate studies in the department and runs the inspired by The Recruiting Officer. Megadog eclipse festivals. A founding member of conference in Frankfurt: ‘the body is always working’, www.fuseperformance.co.uk Drama Residency, a programme that brings Mamaloucos Circus, he also worked for Stage ‘the spectator is….’, and ‘the carousel of ghosts’. professional theatre practitioners and students Sean Myatt Surgeons. A Lecturer at the Central School of Speech Eleanor Margolies together to work on creative projects. Recent (Paper Panel: Friday, 2.30 pm – 4.30 pm) and Drama since 2003, he has worked with David Kirby (In Residence: all week) production work includes Chekhov’s The Seagull and Sean Myatt originally studied theatre design where his colleagues and students on projects with Remarkable (Roundtable Discussion: Thursday, Eleanor Margolies is a writer and theatre-maker. Her a programme of South African interpretations of interest in the puppet developed along with a Productions, the London Borough of Tower Hamlets, 1.30 pm – 4.00 pm) publications include: Green Camberwell, a walking performances from Ionesco’s The Lesson, Lorca’s fascination in the possibilities of narrative through the Walk the Plank, Kinetika and others. Dr David A. Kirby is Vodafone Chair of Business and guide to parks, history and art in a London Blood Wedding and Soyinka’s Death and the King’s movement and metamorphosis of object and Founding Dean, Faculty of Business Administration, neighbourhood; The Day The Food Ran Out, a picture Horseman for the UNESCO-ITI World Festival of materials. He was awarded the Arts Council and John Katariina Numminen Economics and Political Science at the British book created with Catherine Vase and children from Drama Schools in the Philippines. She is a recipient of Wright bursary to further develop his skills as a (Roving Reporter) University, Egypt. Past posts include Professor of three East Greenwich schools; and Vagueness the UCT Distinguished Teacher’s Award. puppeteer in 1989. It was whilst working with the Katariina Numminen is a Helsinki-based dramaturg Entrepreneurship at the University of Surrey, Director Gridlocked, a philosophical map of the smells of New Philippe Genty Company that the combination of his and director who has directed work with such groups of the UK Institute for Small Business and York. She wrote her PhD thesis, Dancing with Forks, Luke Mills training as a designer and puppeteer developed into as Viipurin taiteellinen teatteri and Todellisuuden Entrepreneurship and Senior Vice President and on props, puppets and materials in performance and (Roundtable Discussion: Friday 11.30 am - 1.30 pm) what he describes as live design. He has been tutkimuskeskus (Reality Research Center) in Finland. Director of the International Council for Small is the editor of Puppet Notebook magazine. Other Luke graduated from The Central School of Speech working as a performer and director for the last fifteen She has taught Dramaturgy in the Theatre Academy Business. He has sat on several UK Government projects involve bicycles, urban food-growing and and Drama in 2007 and joined Greenwich and years and has recently joined Nottingham Trent of Finland since 2000. Her recent work includes the working parties, and has published articles and books windmills. She lives and works in London. Docklands Festivals as a Project Manager; organising University as Senior Lecturer in Theatre Design. establishment of a new Contemporary Theatre including Entrepreneurship (McGraw-Hill, 2003). He is outdoor events and street theatre in Trafalgar Square, Studies unit within the Academy. She has also a fellow of the Institute of Business Advisers, the Raquel Meseguer the Old Royal Naval College and for the Tour de Jeton Neziraj recently taught theatre projects in Mozambique, and Royal Society of Arts and the UK Institute of Higher (Roundtable Discussion: Thursday 3.30 pm – 5.00 France. Luke worked on numerous professional (Roundtable Discussion: Thursday, been involved with theatre work in Berlin. Education, and in 2006 received the Queen’s Award pm) projects whilst studying at Central, where he began 1.30 pm – 3.00 pm) for Enterprise Promotion. Raquel Meseguer trained at London Contemporary his freelance career, with credits to date including: Jeton Neziraj is drama professor at the University of Mary Oliver Dance School. She was a member of Maresa von Production Manager, Dealer’s Choice (Trafalgar Prishtina, playwright and director of the Center for (Paper Panel: Friday 11.00 am - 12.30 pm) Zoe Laughlin Stockert's Tilted Co. and performed in La Sardina, Studios), Lighting Designer, Tower of Light (Heat the Children's Theatre Development (CCTD), which Mary Oliver has been a performance artist for over (Presentation: Thursday, 5.30 pm – 6.30 pm) Grim[m] Desires and More Grim[m] Desires. She has Streets, Blackpool), Technical Manager, Bollywood creates participative theatre projects around issues twenty years. She is Reader in Digital Performance, Zoe Laughlin is part of the Materials Research Group also worked with Punchdrunk. Raquel formed Lost Steps (UK Tour ’06 + ’07), Chief Pyrotechnician, affecting young people in Kosova. In 2005, CCTD Associate Head of Research in the School of Media, in the Division of Engineering at King’s College Dog with Ben Duke in 2004 and their duet Pave up Clubland Live (UK Arena Tour) and Stage Manager collaborated with the UN Office of Missing People on Music and Performance at Salford University and London, working in this scientific context as an artist Paradise won first prize at the 2004 Burgos The Bloomsbury Festival (London). an Albanian/Serbian project about the missing Director of New Performance Paradigms, an and materials researcher. Part of her work is to create International Choreography competition. The Drowner persons from the last war in Kosova. Jeton has had international network of writers and performance and curate a materials library—providing a home to was nominated for a Total Theatre Award (Edinburgh Nick Moran ten of his plays published, translated and staged in makers exploring the future of performance. some of the most wondrous matter on earth. Current Festival 2005). The company received a Bonnie Bird (Roundtable Discussion: Friday, 11.00 am – 1.00 pm) and outside of Kosova, and has had theatre criticism research projects include The Sound of Materials, The UK New Choreographers Award and was Nick Moran had an extensive career as a freelance and articles published in local and international Keith Orton Performativity of Matter and Materials Library as commissioned to make The Over-Head Project for Lighting Programmer for more than seventy newspapers. He has twice won the Film Scripts (Presentation: Friday 3.30 pm – 4.30 pm) Materials Theatre. Recent outputs have included The Place White Christmas Season. The company productions, including the moving lights for the award from the Ministry of Culture in Kosova (2006 Keith graduated with the Advanced Diploma in Stage performative events/exhibitions at the Hayward has been short-listed for the Oxford Samuel Beckett original Miss Saigon (Drury Lane). Recent credits and 2007), and his drama Lisa is sleeping won the Design from The Central School of Speech and Gallery, Tate Modern and Wellcome Collection. She Theatre Award and was invited to be Choreographers include Bullies House (Border Crossings Theatre), first prize in the national competition of the drama Drama in 1992 and worked as a freelance and holds a BA in Performance Studies from the in Residence at the MADE in Umea Festival (Sweden). MTV live music shows (Birmingham Symphony Hall) publisher BUZUKU. He presents his work resident set and costume designer. He then became University of Wales, Aberystwyth, and an MA in and Love is a Dog From Hell (a concert staging of the internationally at human rights and performance resident designer at Oldham Coliseum Theatre, Scenography from Central Saint Martin’s College of Metis Arts poems of Charles Bukowski, Vienna). He was Lighting conferences. Manchester and designed many in-house Art and Design, London. She is currently completing (In Residence: all week) Manager for English National Opera and staged productions. her PhD. www.asifitwerereal.org Metis Arts is a creative enterprise set up to develop concerts of Wagner’s Ring Cycle at the Barbican. The Sophie Nield In 1997, Keith returned to Central as a full-time arts-led responses to interdisciplinary research. A author of Performance Lighting Design in the Twenty- (Welcome: Thursday 10.30 am) design tutor. In 2005 he was a finalist for the World fascination with maps, space, technology, travel and First Century from A&C Black, he is Senior Lecturer in Sophie Nield is Head of the Centre for Excellence in Stage Design Exhibition in Toronto and had a book history drives their work in a variety of media, with a Lighting Design and Production Lighting at the Training for Theatre at the Central School of Speech published by Crowood Press. He has designed the focus on process, exchange and the development of Central School of Speech and Drama and an and Drama, University of London. She is a Trustee last three pantomimes for Watford Palace Theatre, networks and communities. The Bunker Project is executive member of the Association of Lighting and Director of the Mander and Mitchenson Theatre and through this work, he is hoping to raise the their first project, and is being developed for this Designers. Collection, a Fellow of the Royal Society of Arts and a academic profile of this British theatrical tradition. residency by Metis director, Zoe Svendsen, with member of the Executive Committee of the Theatre artist/designer Simon Daw, writers Lucy Caldwell and and Performance Research Association. She writes PAGE 28 TheatreMaterialsPRINT 14/4/08 10:56 am Page 29

Ron Packman Ali Pretty for touring companies, local authorities and venues Trish Reid Julian Rudd (Presentation: Thursday) (Presentation: Thursday 2.30 pm – 3.30 pm) including the Royal Exchange Theatre, Welfare State (Paper Panel: Thursday, 3.30 pm – 5.00 pm) (Roundtable Discussion: Friday, 11.30 am – 1.30 pm) Ron Packman was born London 1948, educated at Ali Pretty is a founder of Kinetika, of which she is International, and the Pleasance Theatre. An Trish Reid is Director of Studies in Dance and Drama Julian Rudd started his career as a promoter and DJ London schools and Imperial College. He graduated Artistic Director. She designed and directed numerous occasional director, performer and pyrotechnician, at Kingston University. Her interest in the performing at underground parties and festivals. He set up the with honours degree in structural engineering in 1973, productions including Din Shuru, Tiger Out East! and she has directed The Emperor and Tiger in body extends from the popular stage of the Deptford Urban Free Festival and founded Circus then worked as a consultant for six years on various Roads to Freedom. She has worked on carnivals and collaboration with carnival arts company Kinetika. nineteenth-century, especially melodrama and music Mamaloucos with Matt Churchill and Alastair Noonan. aid and water supply projects in Asia and Africa. He events in London, Salisbury, Johannesburg, Ghana, She is currently working with curator Michael Trainor hall, to autobiographical performance and the post- He was a director of the Megadog Festivals for three set up PackmanLucas in 1979. From 1990 to 1997 he Seattle, Ohio and Brazil. She designed three winning and others to produce Art Car Parades in Newcastle dramatic. She has written recently for Contemporary years, responsible for the visual arts, cabaret, cinema, was a tutor in RCA, and has been a tutor at Bartlett bands for the Notting Hill Carnival and created Gateshead for New Year’s Eve. A regular contributor Theatre Review on the work of Scottish playwright fringe music and street arts programme. He has from 2004 to present. He became a Fellow of the costumes for the Millennium Dome Opening to journals, she recently worked as a roving reporter and director Anthony Neilson, and hopes to extend worked extensively as Festival Director and Royal Society of Arts in 2007, and the Associate Ceremonies and the Atlanta Olympics Opening and DJ for Solfest FM, the community radio station her discussion of his work in relation to notions of the production manager for festivals and produced Director of Heatherwick Studio in 2006. He set up Ceremonies. Exhibitions of her work include the tour for Solway Firth’s music festival. She is on the board post-dramatic and the popular. She is currently Bollywood Steps, The Mamaloucos Experience and Pakman Chow in Shanghai in 2006. He is presently of ‘Midnight Robbers: the Artists of Notting Hill for Xtrax, artgene: Cumbria's contemporary visual arts shadowing the latest Improbable Theatre project, The Singularity. In 2005 he founded Remarkable working in Hong Kong, Shangai, Wuhan, Cape Town, Carnival’. research facility and Liverpool’s Collective provisionally entitled Panic, which will reach Productions and became Coordinator of the Vilnius and London. Encounters. production in the spring of 2009. Independent Street Arts Network. He has produced Present Attempt two conferences for ISAN: Time to Connect (2005) Joanna Parker (In Residence: all week) Paul Rae Liat Rosenthal and To Boldly Go (2007). (Paper Panel: Friday, 2.30 pm – 4.30 pm) Present Attempt is a performance collective. Formed (Presentation: Friday, 1.30 pm - 2.30 pm) (Paper Panel: Friday, 11.30 am - 1.00 pm) Jo Parker trained at London Contemporary Dance in 2006 by postgraduates from the Central School of Paul is a British theatre-maker and academic based Liat Rosenthal studied Visual Culture at the University Peter Rumney School and received an ACE Design Bursary. Senior Speech and Drama, the collective is committed to in Singapore. In 1997, with Kaylene Tan, he co- of Nottingham, and is enrolled in the MA Advanced (Paper Panel: Friday, 2.30 pm – 4.00 pm) Lecturer in Scenography at The Central School of developing progressive and experimental devised founded the theatre company spell#7 Theatre Practice at the Central School of Speech and Peter Rumney is a writer and director. As an actor he Speech and Drama, she previously taught at Trinity work. Members are James Bush, Alex Eisenberg, (www.spell7.net). Current projects include National Drama. Interests in the intersection between the worked with the RSC, Royal Exchange, Scottish College Dublin, London Contemporary Dance School Venla Hatakka, Sam Lerner, John Pinder, Matt Language Class, a bilingual performance about visual and performed arts, and visual based story- Opera and Glasgow Citizens and community and University College, Chichester. Research interests Trueman. language, ethnicity and national identity, and Tree telling, have led to a focus on puppetry and object- companies such as Hijinx and Leeds TIE. His play include improvisational and visual strategies for Present Attempt addresses fundamental questions Duet, the latest in a series of pseudo- based theatre practices. Jumping on My Shadow was the first play for young design and choreography and theatre architecture’s about live performance, creating passionate, autobiographical duets focusing on the power of two people since the 60’s to win the ACE John Whiting interface with the scenographic object/image. She impossible and anarchic work with a strong comic in a world of many. An Assistant Professor in the Karl Rouse Best Play Award. He is also Artistic Director, with has designed for theatre, opera and dance—working undercurrent. Performers are encouraged to enter Theatre Studies Programme at the National University (Roundtable Discussion: Thursday, Nettie Scriven, of Dragon Breath Theatre, which with venues and companies such as Lightwork, areas where they feel vulnerable, to face their of Singapore, Paul recently co-edited Performance 1.30 pm – 4.00 pm) makes epic, visual theatre with, and for, young Complicite, West Yorkshire Playhouse, The Gate, audience in the present moment. This performance Research 12: 2, on performance and mobility (with Karl Rouse is leader of the BA Performance Arts at people. This company is hosted by Nottingham Trent Young Vic, the Royal Opera House English Touring mode emphasises the joy of failure on stage; with no Martin Welton), and is currently working on a short the Central School of Speech and Drama. The course University, where both are Senior Lecturers in Theatre Opera, Opera Theatre Company (Dublin), Scottish two shows ever exactly the same, the scope for fresh book about theatre and human rights. undertakes a range of projects including regular Design. Peter is a Cultural Partner in Nottingham Opera and Shobana Jeyasingh Dance Company. and surprising moments, both comic and poignant, is collaborations with companies such as Para Active, Creative Partnerships schools, developing creative ever-present. Bryan Raven Punchdrunk, ICA and ENO. He is a graduate from curricula through interdisciplinary work. Jonathan Petherbridge (Roundtable Discussion: Friday 11.00 pm – 1.00 pm) New York University’s Department of Performance (Paper Panel: Friday, 2.30 pm – 4.00 pm) Projet in situ Bryan is the General Manager of The White Light Studies and RADA, active within the Fulbright Mhora Samuel Jonathan Petherbridge has been making different (Roundtable Discussion: Thursday 3.30 pm – 5.00 Group of companies, one of the leading lighting rental Commission and Fellow of the Royal Society of the (Roundtable Discussion: Friday, 11.00 am – 1.00 pm) sorts of theatre for nearly three decades. Some pm and Workshop: Friday 11.00 am – 1.00 pm and and service companies in the UK. He is a well known Arts. He has lectured at ICA, Rotary International, the Mhora Samuel began her career as a dancer and ‘orthodox’ shows developed from the work of a writer 2.00 pm – 4.00 pm) and respected figure in every area of theatre in University of Salford, HM Prison Service, Performance choreographer in Scotland and as Administrator for (Shakespeare, Brecht, Brenton) while some were The company was founded in 1999 and works at the London and beyond. He has been actively concerned Studies International, and New York University. the Gregory Nash Group in Oxford. In 1989 she inspired by places (parks, cliff tops, vaults) or driven frontiers of distinct disciplines including dance, with the both Greening London's Theatres and Arcola became Centre Co-ordinator for Chisenhale Dance by social purposes (young people, intergenerational theatre, anthropology, choreography, writing, Energy, using his extensive industry knowledge and Felix Ruckert Space, London and later Director of Total Theatre. projects, theatre for early years). He pioneered photography, plastic arts. Work from South Africa to contacts to help both projects. He brings real world (Roundtable Discussion: Thursday She joined ABL Cultural Consulting in 1998 where she promenade theatre as a response to the dominance Syria and Mexico celebrates the hybrid language of business experience of theatre and live performance 3.30 pm – 5.00 pm) worked on a range of capital feasibility studies and of the black box, directed and rejected the live art on the cusp of contemporary dance and to both projects. Felix Ruckert studied dance at the Folkwang arts strategies. In 2001 she became Chief Executive community play and continually seeks to introduce theatre. In 2001 Martin Chaput and Martial Chazallon Hochschule Essen, in Paris and New York before of the Cultural Industries Development Agency, the theatre to effective settings. He is Artistic Director of gathered together dancers, visual artists, and Alan Read becoming an award-winning choreographer. As a leading business support regeneration agency for the London Bubble Theatre Company, working to composers to make ‘Du Haut’ (Paris), ‘Manège’ (Keynote Speaker: Friday, 10.00 am – 11.00 am) dancer he participated in the first three productions of cultural and creative industries sector in East London. develop a model of an open theatre company that (Damascus) and ‘Wake Up! (Johannesburg). ‘The 4 Alan Read is the author of Theatre & Everyday Life: Wanda Golonka and VA Wölfl- Neuer Tanz, Mhora joined the Theatres Trust in January 2006. generates work with, and for, people. M's’ researched the subject of urban and personal An Ethics of Performance and Theatre, Intimacy & Düsseldorf and spent three years in France with some corporality: ‘Miradas cruzadas’ (Mexico) and Engagement: The Last Human Venue. He is the editor of the exponents of the jeune danse française. From Cormac Power ‘Appartement témoin’ (Montreal). The fourth, of The Fact of Blackness: Frantz Fanon and Visual 1992-94 he was part of Pina Bausch’s Wuppertaler (Paper Panel: Friday 11.00 am - 12.30 pm) ‘Taxidermie’, was performed at Maputo in 2007 and Representation and Architecturally Speaking: Tanztheater. His improvisation project Die Küche, Cormac Power is a lecturer in Performing Arts at replayed at the Merlan, the national stage of Practices of Art, Architecture and the Everyday. Alan (1993-1995), a performance ritual of several hours Northumbria University. He completed a PhD in Marseilles, and at the Centre Choréographique Read is a founding consultant editor of Performance featuring up to thirty local dancers and musicians was Theatre Studies at Glasgow University in 2006, and a National de Rillieux-la-Pape Co. Maguy Marin Research and editor of two issues of the journal: On performed in twelve major European cities. In book based on this research (Presence in Play: A (Taxedermie # 2). Animals and On Civility. Alan Read is currently numerous other works, with international Critique of Theories of Presence in the Theatre) is Professor of Theatre at King’s College London where commissions, he has given the audience an active forthcoming from Rodopi. Liz Pugh he is developing the old anatomy museum and role in performance and explored pure movement and (Roundtable Discussion: Friday, 11.30 am - 1.30 pm) theatre on the Strand as a Performance Research improvisation structures. Liz Pugh is co-founder and Creative Producer for Institute. Walk the Plank (www.walktheplank.co.uk), creators of outdoor performance, event engineers, and operators of the UK’s only theatre ship. She previously worked PAGE 29 TheatreMaterialsPRINT 14/4/08 10:56 am Page 30

Biographies - continued

Nettie Scriven Matthew Smith Carmen Szabo Tessellate Gareth White (Paper Panel: Friday, 2.30 pm – 4.00 pm) (Paper Panel: Friday, 11.30 am - 1.00 pm) (Paper Panel: Thursday, 3.30 pm – 5.00 pm) (In Residence: all week) (Roundtable Discussion: Thursday Nettie Scriven has a wealth of experience designing Matt leads the undergraduate Community Drama Dr Carmen Szabo is a lecturer in Drama and Theatre Tessellate formed in 2006, and is made up of Maddy 3.30 pm – 5.00 pm) for theatre spaces, including schools, community programme at the Liverpool Institute for Performing Studies at the Drama Studies Centre, University Jones, Goo Birks and Amber Massie-Blomfield, who Gareth White teaches on the BA in Drama Applied centres, arts centres, studio theatres, art galleries and Arts. He is also the artistic director for PickleHerring College Dublin (UCD). She holds an MA in Irish graduated from the BA Performance Arts at the Theatre and Education at the Central School of main stages. She represented the UK at the Prague Theatre Company. Matt has been a freelance artist Cultural Studies and a BA in English and Spanish Central School of Speech and Drama. Tessellate is Speech and Drama. He is an actor, director and Quadrennial in 1999 and her work for Dragon Breath for sixteen years, working in settings such as schools, from Babes-Bolyai University, Cluj-Napoca, Romania. currently graduate company-in-residence with CETT. facilitator, and has spent much of his career making Theatre is exhibited until the end of 2008 at the V&A prisons, hospitals and environmental agencies, and She completed her PhD in Drama and Theatre Members make work about contemporary social and theatre in and for education and community contexts. as part of the SBTD Collaborators Exhibition. She with diverse populations such as the homeless. His Studies at UCD in 2006 and is currently studying for political issues, always aiming to offer their audience His PhD research concerned agency and control in specialises in working on the development of new work is always eclectic, moving across disciplines an MA in Shakespeare and Education at the a forum to evaluate and question the issues they audience participation, issues which he is now scripts and devising through collaborative process. such drama, puppetry, masks, and music. He Shakespeare Institute, University of Birmingham. Her address. They often work with charities and pressure pursuing in written and practical research. His paper She is also a Creative Agent for Creative Partnerships completed his MA in Contemporary Arts at main research interests focus on issues of post- groups, and in the past have worked with the Aegis on the ethics of audience participation was published Nottingham, developing and supporting partnerships Manchester Metropolitan University. humanism in performance and technology in Trust and Age Concern to produce a thousand words in Applied Researcher (online, 2007) and ‘Odd between schools, artists and cultural organisations, http://www.pickleherring.com/ European theatre practice. and What it is to Get Old. Tessellate are developing a Anonymised Needs: the Masked Spectator in Punch and creating CPD programmes for teachers and In 2007 her book ‘Clearing the Ground’– The Field new performance investigating speech impediments, Drunk Theatricals’ appeared in Modes of Spectating practitioners. Jungmin Song Day Theatre Company and the Creation of Irish due to be staged in Autumn 2008. (Intellect, 2008). (Presentation: Friday 2.30 pm – 3.30 pm) Identities was published by Cambridge Scholars. (www.tessellatetheatre.co.uk) Juhi Shareef Jungmin Song is a performance artist and a Frank Wilson (Roundtable Discussion: Friday, 11.00 am – 1.00 pm) researcher. Her main concern is to create non- Ayse Tashkiran Ben Todd (Roundtable Discussion: Friday, 2.30 pm – 5.00 pm) Juhi Shareef joined Arup in June 2006. After representational performances with everyday objects (Roundtable Discussion: Thursday (Roundtable Discussion: Friday, 11.00 am – 1.00 pm) Frank Wilson has been Artistic Director of Stockton graduating with a business degree from Edinburgh, and her body. She has performed the object-based 3.30 pm – 5.00 pm) Dr Ben Todd is Executive Director of the Arcola International Riverside Festival since 1988. He she spent several years working as a film/video performances in UK and abroad; with paper ‘Of a Ayse Tashkiran works as a teacher, movement Theatre. He holds a doctorate in engineering from established Event International Company Limited as a Producer and as interim Director of the New York Film Rose’ for ACT Festival in Bilbao in May 2006, and director and performer. After completing a degree in Cambridge University and consults on governmental specialist outdoor festival and site-specific events Academy. Her primary interest is finding sustainable ‘Lighter than the Air’ for East End Collaborations in Drama at Bristol University, she trained with Lecoq. and commercial projects in the energy industry. He company in 1999. He is on the Board of Directors for solutions for the creative industries. As a May 2007 and selected for Joining the Dots. She She is co-course leader of the MA Movement Studies works on the Low Carbon and Fuel Cell Knowledge Dance City (Newcastle) and RJC Dance (Leeds) as Sustainability Consultant at Arup, Juhi helped develop also works as a puppeteer for theatre productions at the Central School of Speech and Drama, the first Transfer Network and leads the Arcola Energy well as being Chair and Executive Committee the British Standard for Sustainable Event including Venus and Adonis (RSC and The Little Angel programme of its kind that trains movement teachers initiative for sustainability in theatre. Member of the Independent Street Arts Network. He Management (BS 8901), managing its trial at Live Theatre, 2004). and directors. Her research interests include the was a founder of the European Network of Street Arts Earth UK. She measured the carbon footprint of the lineage and practices of the British Movement Caroline Townsend (Eunetstar). Selected projects include European Arts Concert for Diana and is on the Mayor of London’s Michael Spencer Director, devising and performance puppetry. Recent (Costume Archive: All week) Festival; Newcastle's Millennium Eve Celebrations; Steering Group to reduce carbon emissions for the (Paper Panel: Thursday, 2.30 pm - 4.00 pm) movement direction work includes Ma Vie En Rose From September 1983 to September 1998 Caroline the Launch Event of Leeds Millennium Square; the theatre sector. Michael has been a performance designer for over (Young Vic), Macbeth (Regent’s Park Theatre), Townsend ran her own Costume Company. As well as Festival of British Humour, Lisbon; British Programme twenty years. A long-time collaboration with director Sarajevo Story (Lyric Hammersmith Studio) and the making costumes for ENO she worked on many of of the Beijing Chaoyang Spring Carnival; and Finale Bob Sheil Andrew Manley (most recently at Colorado College) French national tour of La Songue du 21 Juin by the West End productions making both Men's' and Event, the NewcastleGateshead Tall Ships Race. (Presentation: Thursday, 1.30 pm – 1.45 pm and included the infamous Marriage of Figaro for the Label Brut. Selected performance work includes Chi Women's' costumes. The productions she worked on 3.00 pm – 3.15 pm and Roundtable Discussion: Welsh National Opera. In 1991 he became the first Chi Bunichi; Voyageur Immobile, Compagnie Philippe included Les Miserables, Phantom Of The Opera, Nicholas Wood Friday, 11.00 am – 1.00 pm) person in the UK to receive an MA in Theatre Design. Genty world tour; The Table Show at the Traverse, Beauty And The Beast, Joseph and His Amazing (Roving Reporter) Bob Sheil is Programme Director of the Graduate He has been Course Director of the BA Performance BAC and West Yorkshire Playhouse, and site-specific Technicolor Dreamcoat, Oliver, Cats and Jesus Christ Nicholas Wood is Course Leader of the MA Advanced Diploma in Architecture at The Bartlett School of Design and Practice programme at Central Saint projects with Project In situ in Damascus, Paris and Superstar. Other work included The Ring Cycle for the Theatre Practice course at The Central School of Architecture where he also runs design Unit 23 with Martins for nine years. He is Secretary of the Mahbogo. Royal Opera House, Sleeping Beauty for The Royal Speech and Drama, and Editor of Dramaturgy Forum Emmanuel Vercruysse. His key interest and curiosity Associated Courses in Theatre Design (ACTD). He Ballet Company, Guys and Dolls, Carousel and (www.dramforum.com). He worked as an Assistant in the relationship between architecture and making is and his colleague Peter Bond are The Split Second Liselle Terret Oklahoma for The Royal National Theatre, The Director with Lindsay Anderson at the Royal Court, bridged through practice and research. He is a research group, looking at interdisciplinary practice (Roundtable Discussion: Thursday, Singing Detective, and The Prince And The Pauper for and has written for the Hampstead Theatre, Orange founder member of the workshop based practice within the field and its pedagogic application. Most 1.30 pm – 3.00 pm) television, Much Ado About Nothing for film. Tree, King’s Head, BAC, TV and radio. He was a sixteen*(makers) and editor of two editions of AD, recently the group gave a workshop/devised Liselle Terret is a lecturer on the BA and MA Applied Prior to that she worked from September 1978 to founder member of the ‘Equality Group’, which ‘Design through Making’ and ‘Protoarchitecture’. performance, The Lens & the Live, for OISTAT Theatre, Drama and Education courses at the Central May 1983 at English National Opera (ENO). Her work performed at the ICA and explored non-hierarchical Scenofest at the Prague Quadriennial 2007. School of Speech and Drama. She has practised as there included working as a sewing hand in the Men's approaches to making theatre, and has convened Andy Smith an Applied Theatre practitioner, director and teacher Chorus Tailoring department, a cutter and maker for conferences on dramaturgy and Edward Gordon (Paper Panel: Thursday, 3.30 pm – 5.00 pm) Dessislava Stoitcheva in community and education settings in the UK and the Principal Men's department and working Craig. He is working with Present Attempt research Dr Andy Smith is Programme Leader for Performance (Paper Panel: Friday, 2.30 pm – 4.00 pm) internationally for fifteen years. Her chapter, ‘Who’s alongside the senior ladies cutter Ralph Dyer in the into new approaches to improvisation. at the International Film School Wales, University of Dessislava Stoitcheva graduated with MA in Acting Got The Power; Performance and Self Advocacy for Ladies Principal department. During her time at ENO Wales (Newport). His teaching and research interests from the National Academy for Theatre and Film Arts People with Learning Disabilities’ appears in The she worked for other companies including ENO include: Modern European drama; American drama; (NATFA), Sofia, Bulgaria. Her acting career includes Applied Theatre Reader, (Routledge, 2008). She North, Welsh Opera, The Old Vic, The Young Vic and American film and television; genre studies; post-war roles in theatre and interdisciplinary performances, TV recently convened The Feminist Neo-Burlesque Greenwich Theatre. British theatre; directing for theatre and film; and series and feature films. She has a diploma in Cultural Symposium (sponsored by CETT), and co-convened multi-media, avant-garde and site-specific Project Management from the Council of Europe. She a RiDE Symposium: ‘On Disability: Tension within performance practice. His most recent publications helped found, and now lectures on, the Management Applied Theatre’. She has presented provocations on can be found in Theatre of Catastrophe: New Essays in the Performing Arts MA programme at NATFA. She performance art as a feminist tool for re-addressing on Howard Barker (eds. Gritzner and Rabey, 2006), has translations and publications in the specialized the medicalisation of eating disorders at Manchester Monstrous Adaptations: Generic and Thematic press and presentations at national and international University, Northampton University and the University Mutations in Horror Film, (eds. Hand and McRoy, conferences. She is a Partnership Projects Manager of Alpach, Austria. Liselle also performs as Doris la 2007), and The Routledge Companion to Gothic, (eds. at the British Council in Sofia, managing art and Trine, a comedic feminist neo-burlesque artist. McEvoy and Spooner, 2007). creative industries projects.

PAGE 30 TheatreMaterialsPRINT 14/4/08 10:56 am Page 31

Credits

Conference Directors Central Services Jessica Bowles Richard Doe Dr Sophie Nield Jacky Fisher Robert Gunton Conference Organisers Eamonn Murphy Gabriella Apicella Tony O’Dowd Gail Hunt Martin Juul Sorensen Christine Southam Conference Marketing Assistant Amber Massie-Blomfield Website Design Sandra Watson CETT Creative Apprentice Julia Barclay Conference Logo Design Yaz Al-Shaater Alumni Caroline Clark Programme Design Nomad Graphique Advisory Panel Professor Joe Kelleher Programme Photography Ali MacLaurin Patrick Baldwin Professor Simon Shepherd Manuel Vason Angell Technical Support Ian Bald Conference Photography Peter Bingham Debbie Attwell Peter Buckley Alexander Corrie Colin Mander Stan Kujawa Ken Mizutani Nick Paddy Catering Roberto Puzone Bartlett Mitchell Phil Rowe Del’aziz Alex Turnpenny

PAGE 31 TheatreMaterialsCovers 14/4/08 11:01 am Page 2

The Central School of Speech and Drama, University of London Embassy Theatre Eton Avenue Swiss Cottage London NW3 3HY Tel: 020 7722 8183 Fax: 020 7722 4132

Centre for Excellence in Training for Theatre The Centre for Excellence in Training for Theatre has been created by The Central School of Speech and Drama. It works to provide a national resource for vocational performing arts training and learning, a focus for theatre research and scholarship, and a site for collaboration, nationally and internationally, between industry, Higher Education, and specialist training providers.

Dr Sophie Nield – Head of the Centre 020 7559 3973 Gabriella Apicella – Project Officer 020 7449 1570 Gail Hunt – Project Officer 020 7449 1571 Registration Form

Theatre Materials / Material Theatres Conference 17 & 18 April 2008

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Please tick the days that you want to attend the conference: Thursday, 17 April Friday, 18 April Both days

To Register and Pay Please send a cheque, made out to The Central School of Speech and Drama, with this registration form to Gail Hunt Centre for Excellence in Training for Theatre The Central School of Speech and Drama Embassy Theatre Eton Avenue London NW3 3HY Or give your Credit/Debit card details below and e-mail the form to [email protected] Name on Card: Card Number: Expiry Date: Start Date: Issue Number (if given): Security number (3 nos on back) Amount:

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Hostel Information

The Generator Hostel (from £12.50 - Wake Up! London (from £11 - £60 £35 pppn) pppn) Compton Place 1 Queens Gardens (Off 37 Tavistock Place) Paddington London London WC1H 9SE W2 3BB T: 020 7388 7666 T: 020 7262 4471 F: 020 7388 7644 F: 020 7706 8548 E: [email protected] W: www.wakeuplondon.co.uk W: www.generatorhostels.com/london Nearest Tube station: Paddington Nearest Tube station: Russell Square

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1: The Washington 7: The North Star Friendly, trendy gastropub. Good atmosphere. Traditional pub. Shows most big football matches. Serves good quality food. Serves “pub grub”. England’s Lane Finchley Road

2: The O2 Centre 8: Arabesque Branches of Nando’s, Vue Cinema, Wetherspoons Lebanese restaurant. Inexpensive, good quality and Walkabout. and value. Finchley Road Winchester Road

3: Del Aziz Delicatessen and European café / restaurant. 9: New Delhi Balti Hut Good quality. Indian restaurant. Inexpensive, good value. Based in the Leisure Centre Finchley Road 4: The Swiss Cottage Traditional pub. Doesn’t play music. Very 10. The Adelaide inexpensive. Serves “pub grub” Comfortable and friendly gastropub. Serves good Finchley Road selection of food Elsworthy Road 5: Establishment Nightclub Plays club classics, R’n’B, Hip Hop 11. Globe Restaurant Bar Finchley Road European, good quality food. Avenue Road 6: Eriki Indian Restaurant Indian restaurant. Very good quality. Finchley Road Rooms for 'Theatre Materials / Material Theatres' conference Thursday 17th April 2008

9.00 9.30 10.00 10.30 11.00 11.30 12.00 12.30 13.00 13.30 14.00 14.30 15.00 15.30 16.00 16.30 17.00 17.30 18.00 18.30 19.00 19.30 20.00 Embassy Theatre Registration Keynote Lecture: Anne Bogart TSD Tour perform perform TSD Tour The Performativity of Matter Embassy Studio The Bar of Ideas Reception Puppetry Studio The Cabinet of Curiosities New Studio Costume Archive Studio 2 Knacker's Yard Knackers Yard Performance Studio 1 Presence and Participatory Representation Performance Rehearsal Room 1&2 The Entrepreneurial Artist Rehearsal room 3 Acoustic Theatre Imprints Rehearsal Room 4 Ali Pretty Ramon Ivars Clean Rehearsal Room From Prop to Protagonist Rehearsal Room 5 Life at the Molecular Level Rehearsal Room 6 Priming the String Machine: The Object as Postdramatic Gesture Performance Studio 2 An introduction to how we hear the world Rehearsal Room 7 Audience: bodies, experience, presence Rehearsal Room 8 The Bunker Project Room A Object, Presence, Materialities Absence of Performance Room D Objects and Obstacles Atrium Bartlett Project EmbassyTheatre Substage Tesse-laboTTomy

Key Paper Panel Roundtable Discussion Workshop Residency Keynote Presentation Other Conference activity Plenary Tour Rooms for 'Theatre Materials / Material Theatres' conference Friday 18th April 2008

9.00 9.30 10.00 10.30 11.00 11.30 12.00 12.30 13.00 13.30 14.00 14.30 15.00 15.30 16.00 16.30 17.00 17.30 18.00 18.30 19.00 19.30 20.00 Embassy Theatre Registration Keynote Lecture TSD Tour TSD Tour Plenary Alan Read Embassy Studio The Bar of Ideas Puppetry Studio The Cabinet of Curiosities Movement Studio Projet In Situ Projet In Situ New Studio Costume Archive Studio 1 What does Greening Tree Duet Sustainable Theatre Architecture / Theatre Practice mean? Sustainable Production Studio 2 Knacker's Yard Performance Studio 1 Street Arts and Higher Street Arts: The Olympics as Catalyst Education Models Rehearsal Room 1&2 Pamela Howard A Dressmaker Instinctive Object Ramblings Rehearsal Room 4 Anne Curry Keith Orton Rehearsal Room 5 Life at the Molecular Level Rehearsal Room 6 Priming the String Machine: The Object as Postdramatic Gesture Performance Studio 2 Using Sound in Theatre The Stone Garden Rehearsal Room 7 Materialities of Voice, Design, Space, Utopias Light and Body Rehearsal Room 8 The Bunker Project Room A Puppet, Performance, Material Communities: Process involving the audience Room D Clowing Objects Atrium Bartlett Project Theatre Substage Tesse-laboTTomy

Key Paper Panel Roundtable Discussion Workshop Residency Keynote Presentation Other Conference activity Plenary Tour