DOCSLIB.ORG

Theatre Acoustics Digital Turnkey

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Theatre Acoustics Digital Turnkey Theatre Acoustics Digital Turnkey New York Chicago London Bristol Glasgow Melbourne © Diller Scofidio + Renfro - Centre for Music, London for Music, Centre - © Diller Scofidio + Renfro We create amazing spaces where stories are told and music is made. Put simply, we love what we do. Passion for our work and for your vision means we are constantly striving to realise the best possible environment for performance. Working in partnership with architects and engineering teams, we specialise in design services for a wide range of creative spaces: from historic theatres to contemporary workplaces; permanent buildings to temporary structures; from the physical to the digital world. We provide a full spectrum of consultancy services from strategic analysis and creative concept generation through to detailed design and full project leadership. Simultaneously, we have the expertise to integrate world-class acoustic, technical and digital design solutions from the outset. Our approach is always bespoke and determined by the unique circumstances of each cultural project, auditorium or technical opportunity. Collaboration and genuine relationships are at the heart of everything we do, resulting in unique and innovative solutions that draw the best out of every space and place. Whatever the scale or budget we are driven by the desire to deliver individual solutions, derived from a deep understanding of you and your project. So yes. We love what we do, and we think you will too. Charcoalblue AGM - Prague 2019 - Prague AGM Charcoalblue Creative Collaborators At Charcoalblue, we believe that to do amazing Our work is all about spatial, visual and audible work you need collaborative relationships, a transformation, so finding different ways to huge amount of passion, a curious mind and develop how we work comes naturally. We love first-hand understanding. Theatre, acoustic to test and experiment with new materials, and digital design runs in our blood and each techniques and platforms: our R&D team push one of us has at some point worked within the the boundaries of the latest innovations in the industry that we now design for. market, both physical and virtual, ensuring we are always ahead of the curve, bringing you Our work has always been founded in a the best solutions available. creative, multi-disciplinary team approach and this remains key to our culture. Our global studio teams collaborate on every project we touch, regardless of where the project is based. This means that every brief is interrogated from every possible angle, creating new approaches and fresh innovation, every single time. © Philip Vile Everyman Theatre, Liverpool – RIBA Stirling Prize winner Andy Hayles Gavin Green Jon Stevens Katy Winter Group Chair Senior Partner - Design Senior Partner - Finance Senior Partner - People Leadership We wanted to build a different, more thoughtful side of the world, our newly formed Australasia- kind of practice, bringing together people from based team was expanding at a similar rate different sectors. Our focus was on listening with projects across Australia, New Zealand Gary Sparkes John Owens Eric Lawrence Managing Partner - UK/EU Partner - USA Partner - Australasia/Asia to organisations and creative leaders, taking and Singapore. Within this rapid growth time to understand their vision, then delivering and demand for our approach, we invested innovative, fresh and uniquely tailored in highly specialised teams in Acoustic and solutions, whatever the scale of the project. Digital Services, to complement and add value So, in 2004, ex-chief electrician Andy Hayles to our Theatre Design services. These expert and lighting & sound engineer Jon Stevens units now deliver services fully integrated joined with architect Gavin Green to become with Theatre Design as well as providing Charcoalblue, followed soon by ex-Stage independent consultation services. Manager, Katy Winter. Rapid evolution such as this meant we put Byron Harrison Ian Stickland Elena Giakoumaki Rich Garfield Our first large commission was for the Royal significant focus into developing our people Partner - Acoustics Principal Partner - Digital Principal Partner - UK/EU Partner - UK/EU Shakespeare Company. This temporary, low- and leadership, both current and future. In cost 1,000-seat theatre underpinned our 2019, we are now a global Partner group of innovative approach and its lessons are still eleven. Common ownership, equity, diversity relevant today. Since those early days, our work and a shared vision for the future are ideas has taken us to all corners of the world. In 2010 we value. We are a long way now from our Susan Feldman, Artistic Director of St Ann’s early roots, yet despite global expansion and Warehouse in Brooklyn NY, wrote to us admiring realising some of the world’s most complex and our work, leading to our first collaboration with prestigious projects, we have never lost sight a US theatre. Rapid growth in the US market led of our central belief that no project is too large Nenna Thacker Chris Spurgeon to exciting and challenging new projects across or too small, and every individual client remains Non-Executive Partner Non-Executive Partner the country. Simultaneously, on the opposite equally important to us. Theatre and Venue Consulting Acoustic Design Designing performance spaces where artists aspire to - Auditorium concept, options and Sound plays a massive part in shaping our - Room acoustic testing and analysis perform and audiences want to be is what we know best. detailed design experiences and understanding of place and space. - Computer-aided acoustic modelling We advise and guide, sketch out ideas, explore what is - Seating design and sightline studies Creative solutions to acoustic challenges require possible and resolve the seemingly impossible. We do an in-depth understanding of the science of sound, - Variable acoustics design everything from reorganising seating, reimagining an - Building-wide strategic planning balanced with a comprehensive appreciation of including critical structural, - Building and environmental noise existing space, designing the perfect acoustic response, mechanical and electrical advice building structure, ventilation, facade, interiors, surveys and site assessment developing technical requirements and future-proofing foundations and sustainability factors. We love your space with cutting edge digital innovations. If you - Technical design, including stage designing rooms and systems which integrate - Noise and vibration control engineering, stagelighting and need us to, we will deal with everything from refining the architecture, performance and construction into audiovisual systems - Sound separation brief right through to leading you confidently through coherent concepts that result in brilliant sound the full design, tendering and construction process. - Witness-test, commission and sign and great looks. Also, as a result of our uniquely off theatre systems - and attend integrated design approach, you’ll find our solutions first night party! We relish making the most of existing buildings, just can be delivered with competitive affordability. as much as we enjoy creating entirely new ones. Most importantly, we are always there as your partner in creativity; from the first napkin sketch right through to the glitter of opening night. Digital Design Turnkey Solutions Charcoalblue offers a dedicated expert digital - Design of large scale internal and external At Charcoalblue, we also offer Turnkey; our - Work together to define vision team who deliver projects from concept to presentation systems complete project lead service. No matter - Develop the brief, project scope, and completion. We create innovative ways for - Interactive system design the scale - small or large - we can lead your programme and outline budget audiences to engage with stories and extend - Broadcast, streaming systems, and cinema project from its initial stages through to design, - Lead the procurement and design team design selection process the reach of events beyond the physical procurement and construction, whilst managing - Detailed systems engineering including - Lead the design team walls of a space. Using digital technology, and coordinating the entire consultant team. content management, storage, distribution & we can create immersive theatrical and Our Turnkey service enables our clients to have - Co-ordinate, monitor and review the work of display the consultant team educational experiences, design interactive a single point of contact and contract for the - Integration of digital design proposals with - Develop project implementation plans, video installations, VR apps, broadcast suites, the design team whole design team. We understand how to bridge project milestones and deliverables events spaces, cinemas and exterior signage. - Market-tested cost schedules the void between the magic of performance and - Advise and assist on contractor Because we know both theatre and technology, - Performance specifications, bid & contract the complexities of construction. Our expert procurement routes we are able to bring together techniques from drawings leadership and streamlined cost efficient design - Oversee production of bid and monitor cinema, broadcasting and experiential theatre - Witness testing and sign off for completed service, combined with our acclaimed theatrical construction progress and software development to produce the best digital systems install innovation, yields impressive results. Using - Overseeing snagging
Load more

Recommended publications
  • Types & Forms of Theatres
    THEATRE PROJECTS 1 Credit: Scott Frances Scott Credit: Types & Forms of Theatres THEATRE PROJECTS 2 Contents Types and forms of theatres 3 Spaces for drama 4 Small drama theatres 4 Arena 4 Thrust 5 Endstage 5 Flexible theatres 6 Environmental theatre 6 Promenade theatre 6 Black box theatre 7 Studio theatre 7 Courtyard theatre 8 Large drama theatres 9 Proscenium theatre 9 Thrust and open stage 10 Spaces for acoustic music (unamplified) 11 Recital hall 11 Concert halls 12 Shoebox concert hall 12 Vineyard concert hall, surround hall 13 Spaces for opera and dance 14 Opera house 14 Dance theatre 15 Spaces for multiple uses 16 Multipurpose theatre 16 Multiform theatre 17 Spaces for entertainment 18 Multi-use commercial theatre 18 Showroom 19 Spaces for media interaction 20 Spaces for meeting and worship 21 Conference center 21 House of worship 21 Spaces for teaching 22 Single-purpose spaces 22 Instructional spaces 22 Stage technology 22 THEATRE PROJECTS 3 Credit: Anton Grassl on behalf of Wilson Architects At the very core of human nature is an instinct to musicals, ballet, modern dance, spoken word, circus, gather together with one another and share our or any activity where an artist communicates with an experiences and perspectives—to tell and hear stories. audience. How could any one kind of building work for And ever since the first humans huddled around a all these different types of performance? fire to share these stories, there has been theatre. As people evolved, so did the stories they told and There is no ideal theatre size. The scale of a theatre the settings where they told them.
    [Show full text]
  • The Inside Guide to Directing
    THE INSIDE GUIDE TO DIRECTING Introduction by 02 Katy Rudd What is Directing? 06 Artist profile: 08 Ashen Gupta Pre-Rehearsals 12 Artist Profile: 16 GUIDE Ebenezer Bamgboye Guide compiled by Euan Borland Rehearsal Room 20 Directing Exercises by Roberta Zuric Photography Credits Artist Profile: 24 Joanna Higson Manuel Harlan Sean Linnen EDUCATION & COMMUNITY How to be a Leader 28 Director of Education & Community Hannah Fosker Education Manager Top Tips for Directing 30 Euan Borland Young Person’s Programme Manager Naomi McKenna Lawson Further Reading, 32 Education & Community Coordinator Kate Lawrence-Lunniss Watching & Listening Education & Community Intern Annys Whyatt Abena Obeng Glossary of Terms 34 With generous thanks to Old Vic staff and associates Next Steps 36 If you would like to learn more about our education programmes please contact [email protected] CONTENTS 1 When I left university, I knew that I wanted to During this time I had the good fortune to be a director but I had no idea how, or where, meet Marianne Elliott who kindly had a cup to start. At university I wrote and directed of tea with me – she gave me some advice plays as part of my course and I was given and told me to go to the regions and learn a good introduction to making theatre. your craft. Then she wished me good luck. In our spare time we put on our own shows rehearsing after hours in whatever space we So I did. I went to Salisbury Playhouse where could commandeer; empty lecture rooms, I spent three glorious months assisting on communal spaces or failing that our bedrooms.
    [Show full text]
  • Introduction to Ecovenue Ecovenue Is a Signifi Cant Theatre-Specifi C Environmental Project Being Run by the Theatres Trust
    Introduction to Ecovenue Ecovenue is a signifi cant theatre-specifi c environmental project being run by The Theatres Trust. It aims to improve the environmental performance of forty-eight London theatres and raise awareness of how to make theatres greener. Ecovenue is promoting the sustainability of theatres and the reduction of carbon emissions through the provision of free theatre-specifi c, environmental advice. The project started in 2009 and runs until 2012. Forty-eight venues each undergo an Environmental Audit, and receive a Display Energy Certifi cate (DEC) and Advisory Report. They track their energy use through SMEasure. Each venue receives a second DEC a year after their fi rst to measure progress. Ecovenue includes a ‘DEC Pool’ of performing arts venues across the UK that have obtained DECs. The DEC Pool helps us to evaluate the project and share best practice and information, establish meaningful benchmarks, and provide a better understanding of energy use of theatres. Any theatre can join the DEC Pool. The Trust’s Theatres Magazine provides quarterly reports on the participants and the work of the Ecovenue project. The Theatres Trust Ecovenue project receives fi nancial support from the European Regional Development Fund. Participating Theatres Albany Theatre Etcetera Theatre Old Vic Arcola Finborough Theatre Orange Tree Theatre Arts Theatre Gate Theatre Pleasance Islington artsdepot Greenwich & Lewisham Young Polka Theatre Brockley Jack People’s Theatre Putney Arts Theatre Bush Theatre Greenwich Playhouse Questors Camden People’s
    [Show full text]
  • One Man, Two Guvnors by Richard Bean Based on the Servant of Two Masters by Carlo Goldoni, with Songs by Grant Olding Background Pack
    One Man, Two Guvnors by Richard Bean based on The Servant of Two Masters by Carlo Goldoni, with songs by Grant Olding Background pack The National's production 2 Carlo Goldoni 3 Commedia dell'arte 4 One Man, Two Guvnors – a background 5 Lazzi – comic set pieces 7 Characters 9 Rehearsal overview 10 In production: from the Lyttelton to the Adelphi 13 In production: Theatre Royal Haymarket 14 Richard Bean interview 15 Grant Olding Interview 17 Further production detailsls: This background pack is Director Learning Workpack writer www.onemantwoguvnors.com published by and copyright Nicholas Hytner National Theatre Adam Penford The Royal National Theatre South Bank Board London SE1 9PX Editor Reg. No. 1247285 T 020 7452 3388 Ben Clare Registered Charity No. F 020 7452 3380 224223 E discover@ Views expressed in this nationaltheatre.org.uk Rehearsal and production workpack are not necessarily photographs those of the National Theatre Johan Persson National Theatre Learning Background Pack 1 The National’s production The production of One Man, Two Guvnors opened in the National’s Lyttelton Theatre on 24 May 2011, transferring to the Adelphi from 8 November 2011; and to the Theatre Royal Haymarket with a new cast from 2 March 2012. The production toured the UK in autumn 2011 and will tour again in autumn 2012. The original cast opened a Broadway production in May 2012. Original Cast (National Theatre and Adelphi) Current Cast (Theatre Royal Haymarket) Dolly SuzIE TOASE Dolly JODIE PRENGER Lloyd Boateng TREvOR LAIRD Lloyd Boateng DEREk ELROy Charlie
    [Show full text]
  • Conservation Management Plan for the National Theatre Haworth Tompkins
    Conservation Management Plan For The National Theatre Final Draft December 2008 Haworth Tompkins Conservation Management Plan for the National Theatre Final Draft - December 2008 Haworth Tompkins Ltd 19-20 Great Sutton Street London EC1V 0DR Front Cover: Haworth Tompkins Ltd 2008 Theatre Square entrance, winter - HTL 2008 Foreword When, in December 2007, Time Out magazine celebrated the National Theatre as one of the seven wonders of London, a significant moment in the rising popularity of the building had occurred. Over the decades since its opening in 1976, Denys Lasdun’s building, listed Grade II* in 1994. has come to be seen as a London landmark, and a favourite of theatre-goers. The building has served the NT company well. The innovations of its founders and architect – the ampleness of the foyers, the idea that theatre doesn’t start or finish with the rise and fall of the curtain – have been triumphantly borne out. With its Southbank neighbours to the west of Waterloo Bridge, the NT was an early inhabitant of an area that, thirty years later, has become one of the world’s major cultural quarters. The river walk from the Eye to the Design Museum now teems with life - and, as they pass the National, we do our best to encourage them in. The Travelex £10 seasons and now Sunday opening bear out the theatre’s 1976 slogan, “The New National Theatre is Yours”. Greatly helped by the Arts Council, the NT has looked after the building, with a major refurbishment in the nineties, and a yearly spend of some £2million on fabric, infrastructure and equipment.
    [Show full text]
  • 40 More Theatres Supported with Final Theatre Reopening Fund Grants
    Theatres Trust supports 40 more theatres with final Theatre Reopening Fund grants The national public advisory body for theatre has awarded a further £155,265 of grants to help theatres with costs of Covid-secure reopening, including changes to the building to reduce congestion, improvements to ventilation systems and simple measures like installing hand sanitisers and screens. The theatres supported reflect the vital elements that make up the theatre ecosystem with awards made to significant producing theatres – Hampstead Theatre, Lyric Hammersmith, Pitlochry Festival Theatre, Theatre Royal Bath – major receiving houses Capital Theatres and Worthing Theatres, venues specialising in dance (Northern Ballet), new writing (Traverse, New Diorama, Gate Theatre) and one of the country’s few puppet theatres, Upfront Theatre. Community theatres across the country have received grants, including young people-focused Blue Elephant Theatre and Hanger Farm Arts Centre, which works with people with learning disabilities. Theatres Trust has also given grants to help reopen every type of theatre building, including the country’s last remaining Regency theatre, Theatre Royal Bury St Edmunds, theatres in converted cinemas (People’s Theatre and Blackburn Empire) and former churches (Headgate Theatre and Lowestoft Players Theatre), pub theatres (Jack Studio Theatre), outdoor theatre (Rutland Open Air) and even a travelling theatre – Paines Plough. Theatres Trust Director Jon Morgan says, We are beginning to look forward to a time when theatres can reopen, welcome audiences back inside and continue to play a vital role in their communities. It has been a difficult year, but Theatres Trust is pleased to have been able to support so many theatres through this grant scheme as well as our free advice service and the #SaveOurTheatres Crowdfunding campaign.
    [Show full text]
  • Best Practices
    BEST PRACTICES A collection of examples and best practices for IOWA’S HISTORIC MAIN STREET THEATERS CONTENTS Introduction and acknowledgement Theater profiles Successful fundraising: Town Hall Theater (Middlebury, Vermont) 1 Strategic evolution: Commonweal Theatre (Lanesboro, Minnesota) 4 Building an image: Floyd Country Store and Sun Music Hall (Floyd, Virginia) 6 Audience development + engagement 8 Audience research 16 Block booking 20 Boards + committees 22 Chart of accounts 25 Conflict of interest policies 31 Education programs 32 Emergency procedures 33 Fundraising 38 Insurance 41 Marquee rentals 43 Mission statements 44 Nondiscrimination policies 47 Operating endowments 48 Planning 51 Programming endowments 57 Records retention schedule 58 Rental applications + agreements 60 Volunteers 62 Resources: Organizations 69 Resources: Publications 74 INTRODUCTION + ACKNOWLEDGEMENT Main Street Iowa, a program of the Iowa Economic Development Authority’s Iowa Downtown Resource Center, and the Community Land Use and Economics Group, LLC have assembled this collection of examples from theaters around the country as a resource for historic theaters in Iowa’s downtowns. It is our hope that this collection will continue to grow as the theaters participating in Main Street Iowa’s historic theater initiative and their partner Main Street programs add their experiences to it. The collection begins with profiles of several small historic theaters that have had success in one or more aspects of theater management, marketing, programming or collaboration. It then provides summaries of several dozen topics. Each summary includes a brief overview of the topic, with some examples and suggestions based on best practices recommended by theater practitioners. Acknowledgement This manual is offered by the Iowa Economic Development Authority/Iowa Downtown Resource Center/Main Street Iowa, with financial support of USDA Rural Development, thanks to a USDA Rural Community Development Initiative grant.
    [Show full text]
  • A Told by an Idiot and Theatre Royal Plymouth
    A Told by an Idiot and Theatre Royal Plymouth production with Royal & Derngate, Northampton and Unity Theatre, Liverpool created by Told by an Idiot The Strange Tale of Charlie Chaplin and Stan Laurel was first performed on Thursday 14th November 2019 at The Drum, Theatre Royal Plymouth. DIRECTOR’S NOTE “ Without him I would never have made a film. With Keaton he was the master of us all. His work is always contemporary, yet eternal, and what he brought to the cinema and to his time is irreplaceable” Jacques Tati on Chaplin “ They made us laugh because in them we kind of saw ourselves - ridiculous, frustrated, up to our necks in trouble, but nevertheless ourselves” Danny Kaye on Laurel and Hardy At Told by an Idiot we have often been fascinated by the deconstruction of an iconic figure and the idea of creating a ‘true fantasy’ has always appealed to us. As a company who has consistently sought to inhabit the space between laughter and pain, we were intrigued to uncover a hidden and poignant chapter of comedy history. In some ways we set out to create a comically unreliable tribute to two extraordinary artists. We were determined to value fiction over fact, fantasy over reality, and shine a very unusual light on a pair of show business legends. Paul Hunter Writer and Director of The Strange Tale of Charlie Chaplin and Stan Laurel CAST Sara Alexander Films include: Tim Burton’s Sweeney Todd; Hilary & Jackie; Pianist, Hannah Chaplin (Charlie’s Mother) Susie Gold; Sherman (short); The Tales of Despereaux (cartoon); Gullivers Travels; Gli Zii (short); Muppets Most Sara is Brit-Sardinian and a graduate of the University of Wanted; Men Who Sleep in Cars.
    [Show full text]
  • 32 Sept Spotlights.Indd
    September 2011 No. 32 | Bimonthly www.bromleylittletheatre.org FLEA IN HER EAR! (Review: page 4 - Photos Back Cover) INSIDE: SEASON Review: Flea in Her Ear | Love On The Dole PREVIEW Auditions: California Suite | Twelfth Night | Equus Previews: The Glass Menagerie | The Weir | Brassed Off 2012 Howard Wilson Tribute • Events Diary • Noticeboard What’s Inside BLT Chair 2 Playgoers’ Noticeboard 3 Key Contacts 3 Review of Flea in Her Ear 4 The D.R.A.M.A.s 6 Howard Wilson: a tribute 7 BLT’s 2012 Season 8 Audition Notices 12 Previews 14 Diary Dates 16 Claire McRandal as Raymonde in Flea in her Ear will be looking at strategies to increase as many members are aware, BLT Chair the number of set designers, set we cannot make the necessary “I said at the builders, lighting designers, lighting investment in the theatre until beginning of operators etc. we are clear that we have a my previous column in BLT, the company and charity held, its such investment worthwhile. Our Spotlights that AGM on Monday 18 July. Key points currentsufficiently lease long is up lease for torenewal make I was writing at discussed included: at the beginning of 2012 and the beginning • Artistic values remain a key lease is the key priority for the sunny day of strength at BLT. Moreover, with Boardsecuring for a the sufficiently remainder long of newthis theof the summer. first It special thanks to Pauline Armour, year. turns out I’m our aim is to increase further, • Finally, having reported on the sad afraid that it was one of the few sunny the quality and consistency of loss of Tom Pead in the previous days of the summer and I should productions through an artistic edition of Spotlights, BLT lost have stilled my pen because I clearly assurance scheme.
    [Show full text]
  • Berliner Festspiele / Theatertreffen May 2021 Playwright's Podcast
    Berliner Festspiele / Theatertreffen May 2021 Playwright’s Podcast Season 5 – Eve Leigh Episode Please Note: Transcripts are generated using a combination of speech recognition software and human transcribers, and may contain errors. Please check the corresponding audio before quoting in print. SS Welcome to a special series of the Royal Court Theatre’s Playwright’s Podcast in association with the Stückemarkt of Berliner Theatertreffen, with me, Simon Stephens. For sixty-five years the Royal Court Theatre in London has led the world in the production of new plays and the discovery and championing of new playwrights. The Stückemarkt of the Theatrtreffen is an annual gathering of new writers and theatre makers. Every year since 1978, writers are chosen by Stückemarkt jurors from hundreds of applications to visit Berlin and perform, talk about and celebrate their work. With the 2019 Stückemarkt, the competition was launched for the first time world-wide. In this short series of podcasts, the Royal Court Theatre and the Stückemarkt at the Theatertreffen collaborate for the first time. This year as Berlin, like the rest of the world, manages the fallout of the Covid-19 pandemic, the six writers whose work has been chosen, will be discussing their work in this special series of five, hour long, online conversations. One of the most exasperating myths in the various narratives that surround new playwriting culture is that playwrights ever burst into the playwriting world from nowhere. A prominent literary figure at the Royal Court used to talk about such hypothetical playwrights coming ‘from Mars.’ The truth is that those playwrights who arrive suddenly into the new writing scene have often spent years working with tenacity and determination on their craft and process before they appear to emerge from outer space and take the world by surprise.
    [Show full text]
  • Press Release Tuesday 11 April 2017 Royal Court
    PRESS RELEASE TUESDAY 11 APRIL 2017 ROYAL COURT THEATRE ANNOUNCE TEMPORARY THEATRE SPACE THE SITE CREATED BY DESIGNER CHLOE LAMFORD An experiment in design, collaboration and process with new work by writers EV Crowe, Stacey Gregg, Theresa Ikoko, Nathaniel Martello-White and Deborah Pearson. Book here https://royalcourttheatre.com/Season/the-site/ Tickets go on sale today for the Royal Court Theatre’s temporary theatre space The Site curated by Royal Court Associate Designer Chloe Lamford. The programme includes new work from writers EV Crowe, Stacey Gregg, Theresa Ikoko, Nathaniel Martello-White and Deborah Pearson. With Creative Direction by both Chloe Lamford and Royal Court Associate Director Lucy Morrison. The Site is a workshop and rehearsal space situated next door to the Royal Court and rented from Transport for London. Chloe is transforming the space and is offering audiences an invitation; an experiment in design, collaboration and process. She has designed a space where language, form, the body and instructions are the materials and where both artists and audiences are invited to rethink how we create, present, and watch plays. This series of works is an experiment, exploring performance through language, physicality and the power of the imagination, created by five playwrights in response to Chloe Lamford’s provocation. As well as being a leading theatre designer of her generation Chloe is now well known for her extraordinary collaborations with leading European artists such as Lies Pauwels, Katie Mitchell and most recently Dutch singer Wende Snijders. She has collaborated with the Tate Modern and as Associate Designer at the Royal Court is in a constant conversation with the writers to help them challenge form and question the image-based and visual dramaturgy of their work.
    [Show full text]
  • May 20152015
    NewsletterNewsletter MayMay 20152015 In This Issue • Chairman’s Letter P3 • Marketing Strategies P4 • New Writing P6&7 • Voluntary Arts Report P8 • Our Heritage P9 Vol.29Vol.29 No.2No.2 MayMay 20152015 LTG Newsletter Vol .29 No.2 May 2015 The Little Theatre Guild represents 30, 31 October & 1 November 2015 108 member theatres that control NORTHERN REGION CONFERENCE & AGM Changes of Address and manage their theatre buildings. Grove Park Theatre, Wrexham HIGHBURY THEATRE CENTRE Our members are all amateur theatre Sheila Knapman companies with an audience of over 8, 9, 10 April 2016 NATIONAL CONFERENCE & AGM 45 Westminster Drive 650,000 patrons with a turnover of King Heath approximately £4 million. Visit us at Crescent Theatre, Birmingham 70th Anniversary Conference Birmingham B14 6BG www.littletheatreguild.org Tel: 017711 889347 New LTG Reps [email protected] KELVIN PLAYERS, BRISTOL CAXTON PLAYERS, GRIMSBY LTG Diary of Events Ralf Togneri Cathy Bennett-Ryan The Malt House, 41 Trym Road, 29, 30, 31 May 2015 49 Littlefield Lane NATIONAL CONFERENCE & AGM Grimsby Westbury-on-Trym, Bingley Little Theatre N E Lincolnshire DN34 4NU Bristol BS9 3ET Tel: 01472 231753 Phone: 0117 959 4064. 31 July, 1, 2 August Email: [email protected] Email: [email protected] NATIONAL COMMITTEE WEEKEND Great Asby, Cumbria LINDLEY PLAYERS Ms Lucie Nash New Email Addresses (Date still to be confirmed) Flat 12 Lisa Court FORMBY LITTLE THEATRE CENTRAL REGION AGM 115 Northwood Road To contact Brenda Nicholl, use Rose Theatre, Kidderminster Whitstable [email protected] Kent 16, 17, 18 October 2015 CT5 2SD RUGBY THEATRE SOUTHERN REGION CONFERENCE & AGM Email: [email protected] Debbie Hibberd Studio Theatre, Salisbury Telephone: 07545 299952 [email protected] and Lifting Equipment Regulations 1998 (LOLER).
    [Show full text]