April 2011 Newsletter:January 2008 Newsletter.Qxd 16/03/2011 16:03 Page 1

Total Page:16

File Type:pdf, Size:1020Kb

April 2011 Newsletter:January 2008 Newsletter.Qxd 16/03/2011 16:03 Page 1 April 2011 Newsletter:January 2008 Newsletter.qxd 16/03/2011 16:03 Page 1 APRIL 2011 dance ireland NEWS April 2011 Newsletter:January 2008 Newsletter.qxd 16/03/2011 16:03 Page 2 Dance Ireland is the trading name of the Association of Professional Dancers in Ireland Ltd. Established in 1989, Dance Ireland is a membership-led organisation, operating on an all-Ireland basis, dedicated to the promotion of professional dance practice in Ireland. Incorporated in 1992 as a not-for-profit company with limited guarantee, the organisation has evolved into a national, umbrella resource whose core aims are the promotion of dance as a vibrant art form, the provision of support and practical resources for professional dance artists through our training and development programmes and advocacy on dance and choreography issues. Dance Ireland manages DanceHouse on licence from Dublin City Council; a purpose-built, state-of-the-art dance rehearsal venue, located in the heart of Dublin’s north-east inner city. DanceHouse is at the heart of Dance Ireland activities, as well as being a home for professional dance artists and the wider dance community. Studios are available for hire. In addition to hosting our artistic programme of professional training and development, performances, exhibitions, special events and a fully equipped artists’ resource room, DanceHouse offers a range of evening classes to cater to the interests and needs of the general public. BOARD MEMBERS Adrienne Brown Chairperson, Cindy Cummings, Richard Johnson, Megan Kennedy Secretary, Lisa McLoughlin, Anne Maher, Fearghus Ó Conchúir. DANCE IRELAND PERSONNEL Paul Johnson, Chief Executive Siân Cunningham, General Manager Elisabetta Bisaro, Programme Manager Inga Byrne, Administrator Brenda Crea & Glenn Montgomery, Receptionists/Administrative Assistants Dance Ireland, DanceHouse, Foley Street, Dublin 1. Tel: 01 855 8800 Fax: 01 819 7529 Email: [email protected] Website: www.danceireland.ie Dance Ireland News is published 12 times a year Published by Dance Ireland, DanceHouse, Foley St, Dublin 1, Ireland. Printed by CRM Design + Print, Unit 6, Bridgecourt Office Park, Walkinstown Ave., Dublin 12, Ireland. ISSN 1649-9506 Disclaimer Dance Ireland reserves the right to edit or amend all articles or notices published in this magazine. The views expressed are those of contributors and do not necessarily represent the views of Dance Ireland members. Cover: Longford Dance Festival 2011 Source: Jym Darling Deadlines for next edition: May 2011 Copy & Photos: Friday 08 April Inserts: Friday 15 April All photos submitted must be accompanied by appropriate credits and acknowledgements 2 April 2011 Newsletter:January 2008 Newsletter.qxd 16/03/2011 16:03 Page 3 News INTRODUCTION elcome to a busy April edition of Dance with Lisa McLoughlin, Paul Johnson, Laura Macken and Ireland News. Inside we carry news, notices Robert Heaslip who makes a welcome return for a two- Wand previews from our members throughout week residency as our first International Associate the country. Some of the performance highlights this Artist for 2011. month include new work from Breandán de Gallaí (Noc•tú), touring from DTI (BLOCK PARTY!), a showcase Also greatly anticipated, is a week-long intensive from INYB (Dance Celebration) and flying the flag workshop with Cláudia Dias (our Portuguese Modul- internationally IMDT (Fall and Recover) in New York and dance artist) who made such an impressive impact at Legitimate Bodies (Softly Spoken / A Study in the Why Solo So? think tank last November. We are Absence/A Study in Presence) in Indiana and Mexico. delighted that Cláudia has agreed to undertake an intensive workshop week while in residence, which April heralds the beginning of festival-time with concludes with a New Movements and Dance Talks Longford Dance Festival at the Backstage Theatre and event on Friday 8 April at 5pm. nMotion Dance Festival at Siamsa Tíre. Also of note, we partner with Create and Dublin Dance Other international work on view in Ireland includes Festival on Transformed Through Dance, an in- touring by the National Dance Company of Wales (Bray, conversation event with Nikki Crane, advisor to Dance Cork and Tralee), Shen Yun Performing Arts at the United UK and Paul Johnson, Dance Ireland, looking at Conference Centre and a Dance on Film screening at the work of Dance United who pro-actively work with the Lighthouse Cinema featuring a film by Cloud Gate young people at risk of (re) offending (Friday 15 April, Dance Theatre, presented by the Dublin Dance Festival. 2-4.30pm). At DanceHouse, we have morning professional classes DAGHDHA DANCE COMPANY – www.daghdha.ie On behalf of the board and members of Dance Ireland, we continue its important work locally, nationally and extend our support and best wishes to Daghdha Dance internationally. Company at this time. The company is one of Europe’s pioneers in the field of The resident artists of the DMP have started a petition in contemporary dance. Led by AD Michael Klien it is renowned for support of Daghdha. The link to the petition is: its accomplished choreographies, an intelligent and inclusive www.petitiononline.com/daghdha/petition. The current approach to dance as well as delivering comprehensive outreach artists of the DMP are: Asher O’Gorman (ROI), Claire Keating and educational programmes. At home in St. John’s Church, € (ROI), Helen Cerina (Italy), Ruairi O’Donovan (ROI) and Jesse Daghdha Space, a 1.2m flagship development, Daghdha den Dulk (Netherlands). presents an essential part of Limerick’s cultural life and a major contributor to dance in Ireland. Daghdha have issued the following appeal: CALLING UPON ALL ‘…a vital and profoundly forward thinking dance institution PHILANTHROPISTS AND LOVERS OF ART IN IRELAND: SAVE A which is offering a meaningful and socially sustainable “way NATIONAL TREASURE forward” for contemporary dance. All of us can look to the work, Please help to save Daghdha Dance Company, Ireland’s oldest the ideas and the innovations developed at Daghdha with deep and most accomplished dance organisation from imminent respect and admiration…’ Artistic Patron, William Forsythe closure. For further information, please contact General Manager, Gemma Carcaterra on 061 467 872 or Daghdha has been informed of a complete, 100%, loss of its email: [email protected]. revenue funding; it needs to immediately raise €200,000 to 3 April 2011 Newsletter:January 2008 Newsletter.qxd 16/03/2011 16:03 Page 4 DANCE IRELAND 2011 MORNING CLASS PROGRAMME HEADS UP DANCE IRELAND FUNDING Since re-branding as Dance Ireland and the opening of UPDATE DanceHouse, we have enjoyed considerable growth, not Dance Ireland has received an award of only in the range of activities we deliver but in the number €506,250 from the Arts Council for the of dance artists and companies we work with and most fifteen month operating period (January notably in the quality of that engagement, which now 2011 to March 2012). This is a repeat of encompasses comprehensive training and development our 2010 grant. In making the offer the programmes, practical supports, international networks and Arts Council continues to recognise a range of key support services. Dance Ireland as a key organisation for Our remit and mandate has evolved in response to our the delivery of resources and services to members’ interaction, funders’ confidence in our abilities, the Irish dance sector. key national/international partnerships and the continued In other good news, we have received successful operation of DanceHouse as a vibrant hub for €12,000 from Dublin City Council. This dance. support is for our Local Initiatives The backbone remains morning professional class; in 2011 programme which enables us to we will programme 46 weeks of classes with a range of undertake invaluable NEIC education national and internationals including Terry Creach (CI), and dance outreach work, including our Elizabeth Farr (B), Dominique Duszynski (C), Laura Macken annual Open House event in June. (B), Ennio Sammarco (C), Joanna Banks (B), Robert Connor We are grateful to the Arts Council and (C), Deirdre Murphy (yoga), Kyle Abraham (C), and master- to Dublin City Council Arts Office for classes with Jodi Melnick, Jose Navas and Eiko & Koma in their continued support and investment partnership with DDF in May. in Dance Ireland. Plus we have a number of intensive week-long workshops However, while we are fortunate to led by Andrew Harwood/Paula Zacharias (February), Cláudia receive such support, which means we Dias (April), Mentored Choreographic Lab with Guy are able to deliver a significant Cools/Lin Snelling (July) and Troika Range (December). programme for the benefit of our Our International Associate Artists: Anneke Hansen, Robert members and the wider professional Heaslip and Luke Murphy will also share their expertise dance community; nevertheless with through morning classes, while in residence. And when increased operating costs and the coupled with the classes offered from our Dance Ireland prospect of reduced financial support Residency artists – provides a selection of some of the best from grant-aid and studio rental income artist-teachers working today. in the immediate future, we are facing some tough choices in order to continue In a new development, we are finalising details for Summer to deliver a relevant and coherent Intros. Four weeks of morning classes and afternoon programme. sessions in August, targeted at young dancers wishing to meet, experience and learn more about some of our It is therefore timely, in advance of the established choreographers/companies. AGM to reflect on how far we have come but more importantly on the future. Our Comparably speaking, our class and workshop fees remain key question is: how best to work the cheapest in Europe. Thanks to Arts Council support, we together for the continued advancement are able to maintain class fees at a reasonable €7 of professional dance practices. Your members/€10 non-members per class.
Recommended publications
  • Desmontando Shakespeare Dos
    INDICE SINOPSIS MEMORIA DISEÑO DE VESTUARIO FICHA ARTISTICA EL DIRECTOR MR.KUBIK PRODUCCIONES CONTACTO SINOPSIS Los cuatro actores de La Compañía han decidido continuar sus estudios de interpretación en una prestigiosa academia en Viena, la aclamada Academia Mmmáscara (máscara con tres emes). Una vez presentado su trabajo fin del primer curso - una inesperada versión de Otelo, el moro de Venecia, de William Shakespeare-, son inmediatamente expulsados de la Academia; por no cejar en su vocación rinden un nuevo homenaje al Bardo Inmortal con un realmente particular visión de Romeo y Julieta, esta vez en la calle ya que no tienen el respaldo de la academia. Pero los eruditos deciden darles una nueva oportunidad y ellos se atreven con Hamlet, príncipe de Dinamarca... y ahora son finalmente deportados. MEMORIA Los cuatro actores se las arreglan para interpretar todos los personajes de las abreviadas adaptaciones de Otelo, Romeo y Julieta y Hamlet, de William Shakespeare. Lo que no es poco. Más bien es muchísimo:. porque a cada uno le toca encarnar en escenas sucesivas y a veces sin solución de continuidad, papeles masculinos y femeninos como en el antiguo teatro isabelino; porque la propuesta exige un dinamismo interpretativo, pues el humor se cuela constantemente por los pliegues más imprevisibles de las secuencias trágicas o dramáticas; porque el dinamismo alcanza también el despliegue físico que incluye saltos, caídas, desplazamientos acrobáticos o escenas de esgrima, todo resuelto con un inobjetable rigor técnico; porque el tratamiento escénico saca el mejor partido de un espacio aparentemente desangelado y que termina pareciendo ideal; y porque los actores muestran a lo largo del espectáculo que la irreverencia se justifica plenamente en la seriedad técnica y conceptual con que se aborda esta aireada y desmitificadora puesta de tres monumentos shakesperianos.
    [Show full text]
  • Descargar Dossier
    CLÁSICOS EN ALCALÁ 12 de junio – 6 de julio 2014 TEATRO Teatro de la Abadía Entremeses Dirección: José Luis Gómez 12 y 13 de junio, 21:00 Teatro Salón Cervantes Primas de Riesgo El mágico prodigioso Dirección: Karina Garantivá 13 y 14 de junio, 20:00 Corral de Comedias Estreno absoluto Ron Lalá en coproducción con la Compañía Nacional de Teatro Clásico (CNTC – INAEM) En un lugar del Quijote (versión libre de la novela de Miguel de Cervantes) Dirección: Yayo Cáceres 14 y 15 de junio, 21:00 Teatro Salón Cervantes Jotacción y Teatro del Temple Arte de las Putas, una historia de amor Dirección: Carlos Martín 14 y 15 de junio, 22:30 Colegio del Rey, Instituto Cervantes Estreno absoluto Pérez de la Fuente Producciones Las confesiones de San Agustín (Tarde te amé) Dirección: Juan Carlos Pérez de la Fuente 17 y 18 de junio, 21:00 Capilla de San Ildefonso Estreno absoluto Clara Pérez Distribución El jardín del temblor Dirección: Mateo Feijóo 19 y 20 de junio, 20:00 Corral de Comedias 1 Teatro de la Danza El lenguaje de tus ojos o el príncipe travestido Dirección: Amelia Ochandiano 19 y 20 de junio, 21:00 Teatro Salón Cervantes Compañía José Estruch Fuenteovejuna Dirección: Pedro Casas 19 y 20 de junio, 22:30 Colegio del Rey, Instituto Cervantes SetzeFetges Associats y Ring de Teatro Shakespeare en Benicasim. Lectura escenificada Dirección: Jorge Picó 21 y 22 de junio, 20:00 Corral de Comedias Estreno en castellano Taller de la Academia del Verso de Alcalá 2014 J. (Variaciones sobre Don Juan) Dirección: Yayo Cáceres y Álvaro Tato 22, 23 y 24 de junio, 22:30 Colegio del Rey, Instituto Cervantes Estreno absoluto Mephisto Teatro El burgués gentilhombre Dirección: Liuba Cid 26 y 27 de junio, 20:00 Corral de Comedias Compañía Nacional de Teatro Clásico / FEI (Factoría Escènica Internacional) Las dos bandoleras Dirección: Carme Portaceli 26 y 27 de junio, 21:00 Teatro Salón Cervantes VOADORA La Tempestad Dirección: Marta Pazos 28 y 29 de junio, 20:00 Corral de Comedias Producciones Andrea D’Odorico Así es si así fue.
    [Show full text]
  • LATE 20Th and EARLY 21St CENTURY CLOWNING's
    CLOWNING ON AND THROUGH SHAKEPEARE: LATE 20th AND EARLY 21st CENTURY CLOWNING’S TACTICAL USE IN SHAKESPEARE PERFORMANCE by David W Peterson BA, University of Michigan, 2007 Masters, Michigan State University, 2009 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by David W Peterson It was defended on April 16, 2014 and approved by Dr. Attilio “Buck” Favorini, Professor Emeritus, Theatre Arts Dr. Bruce McConachie, Professor, Theatre Arts Dr. Jennifer Waldron, Associate Professor, English Dissertation Advisor: Dr. Lisa Jackson-Schebetta, Assistant Professor, Theatre Arts ii Copyright © by David Peterson 2014 iii CLOWNING ON AND THROUGH SHAKEPEARE: LATE 20th AND EARLY 21st CENTURY CLOWNING’S TACTICAL USE IN SHAKESPEARE PERFORMANCE David Peterson, PhD University of Pittsburgh, 2014 This dissertation argues that contemporary clown performance (as developed in the latter half of the 20th century) can be understood in terms of three key performance practices: the flop, interruption, and audience play. I further argue that these three features of flop, interruption, and audience play are distinctively facilitated by Shakespeare in both text and performance which, in turn, demonstrates the potential of both clown and Shakespeare to not only disrupt theatrical conventions, but to imagine new relationships to social and political power structures. To this end, I ally the flop with Jack Halberstam’s sense of queer failure to investigate the relationship between Macbeth and 500 Clown Macbeth.
    [Show full text]
  • Embodied Acting: Cognitive Foundations of Performance
    EMBODIED ACTING: COGNITIVE FOUNDATIONS OF PERFORMANCE by Richard J. Kemp B. A. Hon.s, in English Literature, New College, Oxford University, 1980 M. A. in English Literature, New College, Oxford University, 1990 M. F. A. in Performance Pedagogy, University of Pittsburgh, 2005 Submitted to the Graduate Faculty of The School of Arts and Sciences in partial fulfillment of the requirements for the degree of PhD in Theatre Arts University of Pittsburgh 2010 i UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Richard J. Kemp It was defended on June 16th, 2010 and approved by Attilio Favorini, PhD, Department of Theater Arts Kathleen George, PhD, Department of Theater Arts John Lutterbie, PhD, Department of Theater Arts, Stony Brook University Dissertation Advisor: Bruce McConachie, PhD, Department of Theater Arts ii Copyright © by Richard J. Kemp 2010 iii EMBODIED ACTING: COGNITIVE FOUNDATIONS OF PERFORMANCE Richard J. Kemp, PhD University of Pittsburgh, 2010 This dissertation applies current thinking in cognitive science to elements of the actor’s process of preparing and performing a role. Findings in the fields of neuroscience, psychology, and linguistics radically challenge the dualistic concepts that have dominated acting theory since the early twentieth century, and suggest more holistic models of the actor’s cognitive and expressive activities. Chapter 1 suggests how a vocabulary for nonverbal communication (nvc) drawn from social psychology can be used to analyze and describe actors’ communicative behavior. Chapter 2 examines the relationship of thought, language and gesture by considering Lakoff and Johnson’s (L & J) analysis of how conceptual thought is metaphorically shaped by the body’s experiences in the physical world.
    [Show full text]
  • Chapter Six Directing
    CHAPTER SIX DIRECTING. INTRODUCTION This chapter focuses on the directing work of Lecoq alumni in Australia. It will examine how alumni's approaches to directing have been influenced by their Lecoq training and the influence their work has had on Australian theatre. The chapter is divided into four sections focusing on a discussion of alumni's work within the framework of the four key elements of the Lecoq pedagogy: creation of original material; use of improvisation; a repertoire of performance styles and movement-based approach to performance. Overview of the Research Findings: The work of alumni in the directing category has contributed significantly to the challenge mounted by many Australian theatre practitioners over the last forty years, offering alternative approaches, processes and forms of theatre that have opened up Australian theatre to new possibilities and undermined the privileged position of text- based realism. As directors, some alumni have chosen to create original material rather than working with pre-scripted material, using improvisational and participatory approaches for devising and rehearsal processes. As well as introducing new performance styles to this country, they have created innovative forms of theatre and their approaches are strongly movement and visually-based. Of the alumni I have interviewed, fourteen have worked as directors. Most of these have not made directing their major area of work but have worked variously as directors, actors, teachers and writers. The following list serves to introduce these alumni and give some indication of their areas of directorial work. Celia Moon has worked primarily as an educator and theatre consultant on a variety of projects involving cultural exchange, community projects, theatre-in-education and collaborative projects with women's professional organisations.
    [Show full text]
  • Laura Purcell Gates Dissertation
    Tout Bouge [Everything Moves]: The (Re)Construction of the Body in Lecoq‐based Pedagogy A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Laura Purcell Gates IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Dr. Sonja Kuftinec Advisor September 2011 © Laura Purcell Gates 2011 Acknowledgements My research at École Philippe Gaulier was generously funded in part by the University of Minnesota Graduate School International Thesis Research Grant. I was also fortunate to receive funding during my time at the University of Minnesota through Department of Theatre Arts and Dance travel awards, the University of Minnesota Graduate and Professional Student Assembly Travel Grant, the University of Minnesota Graduate Research Partnership Program Grant, University of Minnesota College of Liberal Arts Graduate Student Support Awards, and a University of Minnesota Graduate School Fellowship. This dissertation would not have been possible without the support, advice and encouragement of my dissertation committee: Sonja Kuftinec, Margaret Werry, Cindy Garcia and Timothy Lensmire. I am particularly grateful to my advisor Sonja for her incisive advice and enthusiastic guidance. Finally, thank you to Tobi for rearranging home life around my writing, to my mother Victoria for seeing me through the defense, to my father Bill for reliable humor, and to all my friends and family for unending emotional support. i Table of Contents List of Figures iii Introduction 1 Chapter 1: Disorientation
    [Show full text]
  • Failure in Clown Training at Ecole Philippe Gaulier', Theatre, Dance and Performance Training, Vol
    University of Birmingham Monsieur Marcel and Monsieur Flop: Amsden, Lucy DOI: 10.1080/19443927.2017.1316304 License: Other (please specify with Rights Statement) Document Version Peer reviewed version Citation for published version (Harvard): Amsden, L 2017, 'Monsieur Marcel and Monsieur Flop: failure in clown training at Ecole Philippe Gaulier', Theatre, Dance and Performance Training, vol. 8, no. 2, pp. 129-142. https://doi.org/10.1080/19443927.2017.1316304 Link to publication on Research at Birmingham portal Publisher Rights Statement: This is an Accepted Manuscript of an article published by Taylor & Francis in Theatre, Dance and Performance Training on 20/07/2017, available online: http://www.tandfonline.com/10.1080/19443927.2017.1316304 General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document.
    [Show full text]
  • Canadian Women Director's Catalogue
    The Canadian Women Director’s Catalogue A COMPREHENSIVE LIST OF WOMEN DIRECTING IN CANADA Copyright © 2011 Nightwood Theatre and the Professional Association of Canadian Theatres. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, without written permission from the publishers. ISBN – 10: 0-921129-46-7 ISBN – 13: 978-0-921129-46-2 Nightwood Theatre 55 Mill Street, Suite 301 Case Goods Warehouse, Bldg. No. 74 Toronto ON Canada M5A 3C4 Professional Association of Canadian Theatres (PACT) 215 Spadina Ave, Suite 555 Toronto, ON M5T 2C7 Photo of Maggie Huculak, Gemma James-Smith, Dylan Smith, Sarah Dodd and Clare Coulter by Guntar Kravis Welcome I am so pleased to present to you with The Canadian Women Director’s Catalogue. In 2002, I co-spearheaded Equity in Canadian Theatre: the Women’s Initiative to examine the status of women in Canadian theatre. Over the last ten years Nightwood Theatre has partnered with the Playwrights Guild of Canada and the Professional Association of Canadian Theatres to continue research and advocacy for our country’s female practitioners. One of a number of disconcerting fi ndings, revealed the lack of female Artistic Directors at the country’s larger theatres. Yet another fi nding showed that those women who were Artistic Directors had better track records of hiring female playwrights and directors in their theatres. The solution seemed obvious: promote more women into AD positions across the country. But the monkey wrench, as I saw it, was that unless women had the opportunity to direct on the bigger stages they would never be considered “eligible” when those jobs came up.
    [Show full text]
  • Toward a Female Clown Practice: Transgression, Archetype and Myth
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Plymouth Electronic Archive and Research Library COPYRIGHT STATEMENT This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and that no quotation from the thesis and no information derived from it may be published without the author's prior consent. 0 Toward a Female Clown Practice: Transgression, Archetype and Myth By Maggie (Margaret) Irving A thesis submitted to the University of Plymouth in partial fulfilment for the degree of DOCTOR OF PHILOSOPHY School of Humanities and Performing Arts Faculty of Arts Date: 26th September 2012 1 Maggie (Margaret) Irving Toward a Female Clown Practice: Transgression, Archetype and Myth Women who learn to clown within Western contemporary theatre and performance training lack recognizably female exemplars of this popular art form. This practice-as- research thesis analyses my past and present clowning experiences in order to create an understanding of a woman-centered clown practice which allows for the expression of material bodies and lived experiences. It offers a feminist perspective on Jacques Lecoq’s pedagogy, which revolves around a notion of an ‘inner clown’ and is prevalent in contemporary UK clown training and practice. The thesis draws on both the avant- garde and numerous clown types and archetypes, in order to understand clowning as a genre revealed through a range of unsocialised behaviours. It does not differentiate necessarily between clowning by men and women but suggests a re-think and reconfiguration to incorporate a wide range of values and thought processes as a means of introduction to a wider audience.
    [Show full text]
  • ISTA 2019-2020 Artist in Residency (Air) Directory
    ISTA 2019-2020 Artist in Residency (AiR) Directory www.ista.co.uk “This programme Welcome to the International Schools Theatre Association really helped (ISTA) Artist in Residency (AiR) directory for 2019-2020. my students in This is your ultimate guide to ISTA’s AiR programme and offers an extensive pool of 80 internationally acclaimed artists with a huge range of unique skills who are available to visit your school throughout the year. Like last year our aim has been preparing for to launch the directory as early as possible, to ensure that teachers and schools have the information as early as possible as budgets are set towards the second quarter of 2018. It is our hope that by doing this it gives you all the time you need to make bookings with the peace of mind that the decision hasn’t been their practical rushed. One of the beautiful things about this programme is that we’ll often have an assignments. They ISTA event in a town, city or country near you. If this is the case then it’s worth waiting to see which artists are attending that event and book them accordingly. This will save you money as the flights will have already been paid gained new ways for. Usually it’s just the internal travel you’d need to provide as well as the usual accommodation and meals etc. So enjoy reading through the profiles and use the index in the back of to approach their the directory to further narrow and ease your search. These pages should have all the information you need in order to bring amazing ISTA artists to your school, but if you do need more clarification or information then please do get work and left in touch.
    [Show full text]
  • Philippe Gaulier's Contribution to Clown Theatre
    PHILIPPE GAULIER’S CONTRIBUTION TO CLOWN THEATRE; TRACES AND MANIFESTATIONS by LUCY CATHERINE EMERY AMSDEN A thesis submitted to The University of Birmingham for the degree of MASTER OF PHILOSOPHY Department of Drama and Theatre Arts College of Arts and Law The University of Birmingham June 2011 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis examines traces of the teaching of Philippe Gaulier in the genre of clown theatre. I investigate the ways two contemporary productions, NIE’s My Life With The Dogs, and Spymonkey’s Moby Dick, respond to aspects of Gaulier’s teaching. Using Gaulier’s writing and my own experience as a Gaulier student, I identify his main theatre principles and explore the ways these principles are taught, and how this pedagogy might influence clown theatre. I investigate the intermedial nature of clown theatre, which uses the spaces between differing layers of presence, and different theatre conventions, to find conflicts that can be exploited for comedy. I relate this to the multi-generic course structure of Ecole Philippe Gaulier, and the performative teaching methods employed there.
    [Show full text]
  • Critical Reflection on a Clown Cabaret Scratch Night
    ‘I’m not really a clown’: critical reflection on a Clown Cabaret Scratch Night LUCY AMSDEN The Scottish Journal of Performance Volume 2, Issue 2; June 2015 ISSN: 2054-1953 (Print) / ISSN: 2054-19 1 (Online) Publi#$tion %et$ils: htt'://((()scottishjournalo+'er+orm$nce)or, To cite this article: -ms%en, .), 2015) /I0m not re$ll1 $ clown’: criti#$l re+lection on $ Clown 2$"$ret Scr$tch Ni,ht) Scottish Journal of Performance, 2(2): '')11–32. To link to this article: htt'://%4)%oi)or,/ 10.14439/sjop.2015.0202.02 5&is (or6 is li#ense% un%er a 2re$ti7e 2ommons -ttri"ution 4)0 Internation$l .i#ense) See &tt'://#re$ti7e#ommons)or,/li#enses/"1/4)0/ +or %etails) Amsden (2015) DOI: 10.14439/sjop.2015.0202.02 ‘I’m not really a clown’: critical reflection on a Clown Cabaret Scratch Night LUCY AMSDEN DOI: 10.14439/sjop.2015.0202.02 Publ !"# o$ da#&: 26 Ju$& 2015 )* s "+# !l& s " !+ # !"l +&,l&!# o$ o$ #*& Clo-$ Cab"+&# S!+"#!* N .*# "# Ass&/bl0 1o203 14 No4&/b&+ 20143 o+."$ se% b0 Plu#5# l" 6 & "$% Clo7$S#&PP $.. I# !o$s %&+s #*& 4"+ &#0 o, "!#s $!lu%&% $ #*& sho- "$% *o- #* s plu+"l #0 !o$$&!#s #o #*& - %&+ !o$#&/po+"+0 .&$+& o, #*&"#+& !lo-$. 8+o/ " p"+# ! p"$#9obse+4&+ p&+sp&!# 4&3 I $#+odu!& #*& #&$sio$s "$% !o$#+"% !# o$s $ "$% b&#-&&$ #*& "!#s. I su..&st #*"# #* s &4&$# !"$ p+o4 %& " s$"psho# o, *o- #*& .&$+& s !u++&$#l0 p&+!& 4&% "$% p+"!# !&% $ S!o#l"$% #o%"0. Of p"+# !ul"+ p+o/ $&$!& "+& #*& +ol& o, #*& :flop; $ #*& !lo-$;s +&l"# o$sh p - #* #*& "u% &$!&3 #*& #&$sio$ b&#-&&$ +&*&"+sal "$% spo$#"$& #03 "$% #*& !o$$&!# o$ #o #*& :"u#*&$# ! sel,; o, #*& p&+,o+/&+ #* s /pl &s.
    [Show full text]