Tracy Evans's Posts - National Theatre Wales Community2024-03-19T09:03:25ZTracy Evanshttps://community.nationaltheatrewales.org/profile/TracyEvanshttps://storage.ning.com/topology/rest/1.0/file/get/2986194135?profile=RESIZE_48X48&width=48&height=48&crop=1%3A1https://community.nationaltheatrewales.org/profiles/blog/feed?user=22kvxdq241mfr&xn_auth=noFantastic paid and unpaid opportunities to present work in Bridgend in 2015tag:community.nationaltheatrewales.org,2014-12-17:3152760:BlogPost:2124962014-12-17T10:21:37.000ZTracy Evanshttps://community.nationaltheatrewales.org/profile/TracyEvans
<p>I am delighted to let you know about a range of opportunities for artists in Carnegie House- the new Arts & Culture Hub in Bridgend town centre in 2015. One of the cornerstones of the programme is a range of events and opportunities for performance-based artists and creatives. So please read on to see what's coming up!<br></br><br></br><i>Please get in touch if you would like to get involved and pass this message on to any other artists who you think might be interested.</i><br></br><br></br><b>1.…</b></p>
<p>I am delighted to let you know about a range of opportunities for artists in Carnegie House- the new Arts & Culture Hub in Bridgend town centre in 2015. One of the cornerstones of the programme is a range of events and opportunities for performance-based artists and creatives. So please read on to see what's coming up!<br/><br/><i>Please get in touch if you would like to get involved and pass this message on to any other artists who you think might be interested.</i><br/><br/><b>1. Artists Gatherings</b>-<br/>5 free events throughout the year for artists of all genres to gather, network and initiate creative dialogue. Each event hosted by a different Bridgend-based artist. First event to be held on 2nd March.<br/><br/><b>2. Scratch evenings</b><br/>6 free events throughout the year. Each event will be aimed at different artforms, including performance, film, visual arts, and performance poetry. Each will be hosted by a different Bridgend-based artist. The first event will be performance-based and in collaboration with National Theatre Wales' event 'Scratch that Itch' on Thurs 29th Jan. Please get in touch if you would like to present work or for further information.<br/><b><br/></b><b>3. Artists Platform</b><br/>A paid opportunity for performance-based artists to present new and original work up to 45 mins in length. There are 4 events throughout the year and each will feature up to 2 artists. Deadline for the first round is 16th Jan, so read the info here and get your ideas in asap.</p>
<div><br/><a href="http://www.bridgendtowncouncil.gov.uk/art-and-culture-hub/artists-platform.aspx" target="_blank">http://www.bridgendtowncouncil.gov.uk/art-and-culture-hub/artists-platform.aspx</a><br/><b><br/></b></div>
<div><b>4. Artists Residencies</b></div>
<div>A paid opportunity to take up a short one-week residency in Carnegie House in 2015. There are 3 residencies planned for the year, and each has a different focus, so please read the link below for further info. Deadline for the first round is 16th Jan.</div>
<p><br/><a href="http://www.bridgendtowncouncil.gov.uk/art-and-culture-hub/artists-residencies.aspx" target="_blank">http://www.bridgendtowncouncil.gov.uk/art-and-culture-hub/artists-residencies.aspx</a></p>
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<p>Carnegie House is run by Bridgend Town Council. The programme is supported by Arts Council of Wales and Bridgend County Borough Council.</p>
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<p>Hope to see some of you down this way in 2015!</p>Performance, Daily Life and Goldtag:community.nationaltheatrewales.org,2014-05-18:3152760:BlogPost:1947962014-05-18T18:00:00.000ZTracy Evanshttps://community.nationaltheatrewales.org/profile/TracyEvans
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<p>Female performers, and female artists in general, have been exploring ways of connecting the daily life of women and mothers to their artwork probably forever. One of my favourite performance artists, Bobby Baker, has made a whole variety of performances about these things: <em>Drawing on a Mother's Experience</em> and <em>The Kitchen Show</em> are two…</p>
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<p>Female performers, and female artists in general, have been exploring ways of connecting the daily life of women and mothers to their artwork probably forever. One of my favourite performance artists, Bobby Baker, has made a whole variety of performances about these things: <em>Drawing on a Mother's Experience</em> and <em>The Kitchen Show</em> are two brilliant examples of how the daily 'ordinary' lives of mothers can be the compelling subject of performances (<a href="http://dailylifeltd.co.uk/">http://dailylifeltd.co.uk/</a>). More recently performance artist Jenny Lawson has been exploring ways of using baking as the central dramaturgical structure in her performances: transforming the white gallery space to a feast for the senses, whilst questioning cultural notions of the domestic goddess (<a href="http://jennylawsonperformance.wordpress.com/">http://jennylawsonperformance.wordpress.com/</a>). In Wales, Eve Dent and Zoe Gingell have presented a variety of works as part of the wonderfully-titled Mothersuckers project (<a href="http://mothersuckersproject.blogspot.co.uk/">http://mothersuckersproject.blogspot.co.uk/</a>).</p>
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<p>The old feminist treatise that the personal is political has been bandied about for almost half a century, and yet still some people don't get it. A couple of years ago I overheard a prestigious male poet say that the "problem" with much of women's poetry is that it is too personal. Why is the personal problematic? For me its only an issue if the personal experience has not been shaped through some sort of crafting- for surely this is what makes it Art. Autobiography in itself is not necessarily Art. It's how we transmute that raw material that makes it possible to find some real nuggets of gold.</p>
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<p>This past week I have been working on the second phase of R&D for My Real Mother project, which has been made possible by some R&D funding from ACW, and for which I am grateful. The work is about my mother, sort of, and about my relationship to her. I've been wondering what makes a story worth telling? Or perhaps more significantly in performance, worth listening to? How can I take the personal, the daily, the ordinary, and make it resonant for others?</p>
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<p>I'll be sharing some of these explorations in Bridgend on Wednesday in an informal sharing 11-12pm. It is open to the public, and if you're interested in coming along to take part in these conversations please get in touch for further details (email trebreathnach @ gmail.com). (Photo credit Peter Morgan). (<a href="http://www.traceofthesea.com/my-real-mother">www.traceofthesea.com/my-real-mother</a>)</p>
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<p></p>Beginning with some questions, ending with even moretag:community.nationaltheatrewales.org,2014-03-13:3152760:BlogPost:1904112014-03-13T21:01:46.000ZTracy Evanshttps://community.nationaltheatrewales.org/profile/TracyEvans
<p>I have had an exhausting week as part of my WalesLab adventure. I started out last Saturday wondering how I might begin to go about making a piece of work about my mum, possibly with my mum, when she lives in Ireland and I live in Wales. The distance between us became the fertile ground on which we based our week of research: we travelled together from Ireland to Wales by ferry.</p>
<p>I had another question st…</p>
<p>I have had an exhausting week as part of my WalesLab adventure. I started out last Saturday wondering how I might begin to go about making a piece of work about my mum, possibly with my mum, when she lives in Ireland and I live in Wales. The distance between us became the fertile ground on which we based our week of research: we travelled together from Ireland to Wales by ferry.</p>
<p>I had another question st<a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/2999402094?profile=original"><img width="750" class="align-left" src="http://storage.ning.com/topology/rest/1.0/file/get/2999402094?profile=RESIZE_1024x1024" height="216" width="325"/></a>arting out, which was about how this journey together might be an act of <i>defamiliarisation</i>: by doing something unfamiliar together (we have only ever once travelled from Ireland to the UK when I went to university in Manchester aged 17), how might we shake up our normal mother-daughter relationship? The reason I wanted to do this was so that something – a space - might be opened up between us.</p>
<p>So what happened?</p>
<p>Well, I spent almost 11 hours travelling to Ireland and then almost 18 hours the following day travelling back to Wales. The route back was longer because we didn’t take the main road- we attempted to follow a route that was the same shape as the original journey we’d made 17 years ago - tracing Ballycotton-Manchester onto the road from Ballycotton-Bridgend.</p>
<p>And what did we find? The point was not to find out more ‘stuff’ about each other, but inevitably this happened anyway. What we found mostly was more questions – about each other, about motherhood, parenthood, life in its detailed intricacies and the soul in its expansive mystery.</p>
<p>Having dropped her back to the ferry yesterday, I am left wondering about separation from our mothers: physical, emotional and psychological- when does it happen, does it <i>need</i> to happen, what happens if we remain attached to the mother? And then, once we are able to be separate from our mothers, how might we see them as women beyond the role of mother? It’s all a question of identity I guess: how our identities are formed in relationship to our mothers- that first Other human we knew so intimately; grew within.</p>
<p>As I look to developing the project further I return to one of the most wonderful British performance makers, Bobby Baker, and her “autobiographical” work as a mother, and a wife, and a woman, and take inspiration for what is to come next. (You can see some of her work here if you are unfamiliar with it: <a href="http://dailylifeltd.co.uk/about-us/people/daily-life-ltd-team/bobby-baker/">http://dailylifeltd.co.uk/about-us/people/daily-life-ltd-team/bobby-baker/</a>)</p>
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<p>Finally I think about all this as I write in a café in the centre of Bridgend town. How does the place where I am making the work influence and shape what I am doing? There is no performance ‘scene’ here. There are no ready-made audiences. So, how can the work I make <i>speak</i> to the people <i>here</i>? Who are “the people” <i>here</i>? What languages might we share? And perhaps most importantly, how can this work start a conversation?</p>
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<p>Let the next phase of the adventure begin (after I’ve had a few days off!).</p>
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<p><em>Photo credits: Peter Morgan</em></p>
<p> </p>Countdown to My Real Mother projecttag:community.nationaltheatrewales.org,2014-03-06:3152760:BlogPost:1888192014-03-06T11:30:00.000ZTracy Evanshttps://community.nationaltheatrewales.org/profile/TracyEvans
<p>For months now I've been thinking about questions like Are we real? Is there a part of us that is more real than the rest? A kind of true self? Although I don't think there is, the questions still intrigue me.</p>
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<p>And then I've also been thinking about familiarity and what does it mean when something is familiar to us, and even more so, what does it DO to the person, object, place we are familiar with, when we say 'I know that'.</p>
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<p>Over Christmas I read <em>Anam…</em></p>
<p>For months now I've been thinking about questions like Are we real? Is there a part of us that is more real than the rest? A kind of true self? Although I don't think there is, the questions still intrigue me.</p>
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<p>And then I've also been thinking about familiarity and what does it mean when something is familiar to us, and even more so, what does it DO to the person, object, place we are familiar with, when we say 'I know that'.</p>
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<p>Over Christmas I read <em>Anam Cara</em>, a beautiful book by John O'Donohue. He says (based on Hegel's philosophies) that familiarity is in fact one of the most subtle and pervasive forms of alienation. When we are familiar with something, we try to tame and control things which are outside of ourselves: people we know, places we live in, even our homes.</p>
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<p>When we do this, we close the door to the often strange and marvellous Other.</p>
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<p>In this research project I want to dive into the relationship with my mother who lives in Ireland. By creating unusual and unfamiliar meetings, we will attempt to meet each other outside of our normal mother-daughter relationship.</p>
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<p>So, we will cross the Irish Sea by ferry together. We have only done this together once 17 years ago when I was going to university in Manchester. This time we re-map that journey onto the new terrain: Cork-Manchester becomes Cork-Bridgend.</p>
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<p>Travelling together along these new lines, is it possible to meet my real mother? Is it possible to move beyond the familiar façade, and to encounter the strange, and often marvellous things that we may find there?</p>
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<p>You can follow the journey on Twitter as we go @trebreathnach and #myrealmother</p>
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<p>You are also welcome to join us when we get to Bridgend in an informal sharing of the journey on Tuesday 11th March 3-4pm in Carnegie House, Wyndham St, Bridgend.</p>
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<p><a href="http://youtu.be/QWDNSKdy3nY">http://youtu.be/QWDNSKdy3nY</a></p>
<p></p>The Giant in the Crack in the Stairstag:community.nationaltheatrewales.org,2010-08-07:3152760:BlogPost:390922010-08-07T15:30:00.000ZTracy Evanshttps://community.nationaltheatrewales.org/profile/TracyEvans
<h1 style="MARGIN: 0cm 0cm 0pt"><font color="#000000" face="Times New Roman" size="2">For those of you who won't be attending the opening nights of The Persians, check out another piece of new work:</font></h1>
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<h1 style="MARGIN: 0cm 0cm 0pt"><font color="#000000" face="Times New Roman" size="4">The Giant in the Crack in the Stairs…</font></h1>
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<h1 style="MARGIN: 0cm 0cm 0pt"><font face="Times New Roman" color="#000000" size="2">For those of you who won't be attending the opening nights of The Persians, check out another piece of new work:</font></h1>
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<h1 style="MARGIN: 0cm 0cm 0pt"><font face="Times New Roman" color="#000000" size="4">The Giant in the Crack in the Stairs</font></h1>
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<p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt"><font face="Times New Roman" color="#000000" size="2"><strong>11<sup>th</sup> August The Grand Pavilion, Porthcawl, 7.30pm</strong></font></p>
<p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt"><font face="Times New Roman" color="#000000" size="2"><strong>12<sup>th</sup> August Pontardawe Arts Centre, 7.30pm</strong></font></p>
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<p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt"><font face="Times New Roman" color="#000000" size="2">Who is the giant? What are the stairs? Why has a crack appeared in it? These are some of the questions you might ask about the latest theatre production from Cosmic Egg Productions, which will be performed in south Wales on 11<sup>th</sup> and 12<sup>th</sup> August.</font></p>
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<p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt"><font face="Times New Roman" color="#000000" size="2">“The Giant in the Crack in the Stairs doesn’t have an actual, physical stairs!” says director, Tracy Evans. “The stairs is a psychic or metaphysical stairs.” On a micro level it represents each of our own psyches, and the crack comes to represent any instabilities we might have- the gaps, and holes that we can fall into, and sometimes struggle to emerge from. “In this sense the piece was very much inspired by a poem by one of the greatest living Irish poets, Nuala Ni Dhomhnaill, called <i>An Poll sa Staighre/The Crack in the Stairs</i> (translation by Paul Muldoon)”. It begins with:</font></p>
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<p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt"><font face="Times New Roman" color="#000000" size="2">Ta poll sa staighre/ There’s a crack in the flight of stairs</font></p>
<p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt"><font face="Times New Roman" color="#000000" size="2">Istigh ionam./ At my very core</font></p>
<p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt"><font face="Times New Roman" color="#000000" size="2">Ni feidir liom e a threascairt./ That I simply can’t get round or traverse.</font></p>
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<p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt"><font face="Times New Roman" color="#000000" size="2">On the macro level, the stairs represents the cosmic or universal order of things, and the belief-systems we hold onto. The crack then, appears when these theories and worldviews begin to collapse, and the giant is what can then come through. This might be many things, but in this production the giant is the sphinx, the repressed feminine.</font></p>
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<p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt"><font face="Times New Roman" color="#000000" size="2">Poet Kristian Evans, who has written the text, uses the Oedipal myth as a motif throughout. Oedipus had a riddle posed to him by the Sphinx</font></p>
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<p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt"><font face="Times New Roman" color="#000000" size="2">What</font></p>
<p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt"><font face="Times New Roman" color="#000000" size="2">Goes on four legs in the morning</font></p>
<p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt"><font face="Times New Roman" color="#000000" size="2">Two legs at noon</font></p>
<p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt"><font face="Times New Roman" color="#000000" size="2">Three legs in the evening</font></p>
<p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt"><font face="Times New Roman" color="#000000" size="2">And is weakest when it has most</font></p>
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<p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt"><font face="Times New Roman" color="#000000" size="2">“Man” Oedipus replied, and she laughed at him, and threw a plague on Thebes that would destroy it, and a curse on Oedipus that would eventually lead him to sleeping with his mother, killing his father, and send him blind.</font></p>
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<p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt; tab-stops: 176.25pt"><font face="Times New Roman" color="#000000" size="2">In <i>The Giant in the Crack in the Stairs,</i> this riddle is posed again, and the same reply comes: “man”. The violent response of the sphinx shakes the world and her black blood wells in the Earth, and we “consume” it. Her daughters who spring up in the forests of the Amazon are cut down and we “consume” them too. For a moment, we feel that maybe we are repeating the same cycle, no lessons learned, nothing changed, still separated from her.</font></p>
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<p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt; tab-stops: 176.25pt"><font face="Times New Roman" color="#000000" size="2">“But if we can find a way to let her in, to not cover her up or stick her in a crack in the stairs, to truly recognise her and see her in us, then maybe we would feel more whole, we would become more fully human” says Cosmic Egg director, “we would <i>be</i> our environment, our souls would <i>be</i> us, there would be no separation of mind and body, nature and human”.</font></p>
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<p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt; tab-stops: 176.25pt"><font face="Times New Roman" color="#000000" size="2">Ultimately this production is about the search for a new way of seeing things beyond dualism that has told us things have to be “either/or”. <i>The Giant in the Crack in the Stairs</i> searches for a path that can hold the feminine and masculine orders together, that can unify all four elements by standing in a fifth element, beyond the wind, sand, sea and fire, a quintessence……</font></p>
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<p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt; tab-stops: 176.25pt"><font face="Times New Roman" color="#000000" size="2">The Cosmic Egg ensemble is made up of a team of artists from Wales to Argentina, including actors and dancers, puppet-makers, musicians, poets, and is guided by director Tracy Evans, who received a small project Lottery grant from the Arts Council of Wales to bring this to life. The production, which contains a mythic narrative, is at times non-linear, with juxtaposed text and action to encourage the audience to stay alert, to make their own sense of meaning. There will be some promenade performance.</font></p>
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<p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt; tab-stops: 176.25pt"><font face="Times New Roman" color="#000000" size="2">Tickets available from Box Office, £5. Age guidance 10+.</font></p>
<p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt; tab-stops: 176.25pt"><font face="Times New Roman" color="#000000" size="2">The Grand Pavilion 01656 815995</font></p>
<p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt; tab-stops: 176.25pt"><font face="Times New Roman" color="#000000" size="2">Pontardawe Arts Centre 01792 863722</font></p>
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<p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt; tab-stops: 176.25pt"><font face="Times New Roman" color="#000000" size="4">For trailer visit: (I couldn't manage to upload onto this site!)</font></p>
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<p><a href="http://www.youtube.com/watch?v=94pf2_jdKmA">http://www.youtube.com/watch?v=94pf2_jdKmA</a></p>
<p></p>Siamber Wen @ Chapter- don't miss it tonight!tag:community.nationaltheatrewales.org,2010-06-10:3152760:BlogPost:343042010-06-10T07:27:17.000ZTracy Evanshttps://community.nationaltheatrewales.org/profile/TracyEvans
<p>I went to see Human Beast: Siamber Wen last night Chapter and was delighted to find such an exciting piece.</p>
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<p>A promenade perfromance, directed by Joe Wild, with a team of 5 artists from a range of disciplines the piece is contemporary, sexy and haunting. Rooted in Welsh folk song, sliced with digital technology, sung into life: a dark story of incest and family. There is poetry, a may pole, a dance of carrion crows, and love-making of the darkest kind- don't miss…</p>
<p>I went to see Human Beast: Siamber Wen last night Chapter and was delighted to find such an exciting piece.</p>
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<p>A promenade perfromance, directed by Joe Wild, with a team of 5 artists from a range of disciplines the piece is contemporary, sexy and haunting. Rooted in Welsh folk song, sliced with digital technology, sung into life: a dark story of incest and family. There is poetry, a may pole, a dance of carrion crows, and love-making of the darkest kind- don't miss it!</p>
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<p><a href="http://www.chapter.org/19418.html">http://www.chapter.org/19418.html</a></p>
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<p>Tracy</p>Directors Forum @ CPR, Aberystwythtag:community.nationaltheatrewales.org,2010-04-18:3152760:BlogPost:299362010-04-18T21:00:00.000ZTracy Evanshttps://community.nationaltheatrewales.org/profile/TracyEvans
<p>What an action-packed, squeezed-tight programme, the staff at CPR have created in presenting their inspirational Directors Forum, which is just about to finish its 10-day run.</p>
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<p>Having a full-time job means that it would be impossible to take part in the proceedings, but cleverly, they split the overall programme into 3x 3-day blocks, so you might do all 3, or just one or two. I attended the middle block and this is my creative impressionistic response (I was far too…</p>
<p>What an action-packed, squeezed-tight programme, the staff at CPR have created in presenting their inspirational Directors Forum, which is just about to finish its 10-day run.</p>
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<p>Having a full-time job means that it would be impossible to take part in the proceedings, but cleverly, they split the overall programme into 3x 3-day blocks, so you might do all 3, or just one or two. I attended the middle block and this is my creative impressionistic response (I was far too inspired by the forum to try to anlayse, abstract and deconstruct!)</p>
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<p><strong>Exploratories</strong> [a one off 2-hour workshop to explore an aspect of each directors' work/process]</p>
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<p>I worked with:</p>
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<p><strong>Marnie Orr</strong></p>
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<p>Explored aspects of Bodyweather Laboratory practice- zero point- moving without 'comment'- points of departure and arrival- directions- trajectories- resting- recognising and responding toimpulse. We worked in the studio and outdoors.</p>
<p><a href="http://marnieorr.blogspot.com/">http://marnieorr.blogspot.com/</a></p>
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<p><strong>Natalie Hennedige from Cake Theatre in Singapore</strong></p>
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<p>Natalie has won loads of awards for her theatre work in Singapore: she has a wonderful,activating and empowering energy. Explored ways of 'scratching the surface' with an ensemble.....layering action with text and sound as an architecture in theatre.....very strong texts written by Natalie....in search for a common language in all senses, not limitied to the verbal.</p>
<p><a href="http://www.caketheatre.com/">http://www.caketheatre.com/</a></p>
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<p><strong>Mike Pearson</strong></p>
<p>What a wonderful workshop-Mike is a fantastic workshop leader....lots of background to the exploration before launching into physical explorations. Working on his ways in to exploring his 4-man chorus for The Persians...we were introduced to his very precise system of working developed over his career and currently being documneted by Loiuse Ritchie on her PhD: In all Languages....exploring action, text, scenography, soundtrack and technology, sliced by time and titles, layered with gesture, articulations and mediations. Can't wait to see the chorus in the NTW production in the Beacons!</p>
<p><a href="http://nationaltheatrewales.org/whatson/performance/ntw06">http://nationaltheatrewales.org/whatson/performance/ntw06</a></p>
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<p>There were loads of other exploratories- see CPR blog for info.</p>
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<p><strong>Laboratories</strong> [3 afternoons spent with one director in a laboratory where lots of elements are brought in/out, mixed, tested and experimented with]</p>
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<p>I worked with:</p>
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<p><strong>Veenapani Chawla</strong>, Artistic Director, Adishakti Theatre Laboratory, Pondicherry, India</p>
<p><a href="http://www.adishaktitheatrearts.com/">http://www.adishaktitheatrearts.com/</a></p>
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<p>We worked on The Ramayana, an epic Indian text, which preceded The Mahabharata.</p>
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<p>Concerns lay with: How do we present contemporary performance based on such a huge epic myth?</p>
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<p>Veenapani's advice: choose moments......moments that inspire us, that catapult us out of the text, into the cosmos, where we begin to imagine this moment on a stage, drawing parallels with other stories and texts, myth-based, modern, narrative-based, plays.......Choose these moments and 'flesh them out' with these other layers, drawing on all signifiers that are needed.....music when words are not enough, movement when puppetry runs dry....until we begin to find and present the human context in the mix, to allow the greatest degree of accessibility for an audience.</p>
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<p>Another major question for discussion/exploration: what relationship do these new pieces that we create, based on well-known myths, have with the original texts? The group agreed strongly, that we needed to create new,contemporary* texts that could stand alone. Mentioning the original text acts as an 'opener' for audiences, an anchor, a gateway. The aim is always to find the human experience in the story, and this is what remains constant.</p>
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<p>I was fortunate enough to see Veenapani's company perform 'Ganapati' when I visited India 5 years ago- Adishakti's work is incredibly intensive: in both training and performance...working with rhythm as an inner text, launching from Indian performance systems, but creating a contemporary* theatre that is incredibly engaging, spirited, and precise.</p>
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<p>[* Veenapani gave her explanation of contemporary theatre as those performances in which we can look at any moment through all lenses/which in theatre are the signifiers available to us: text/action/sound/music/ technology/scenography.]</p>
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<p>Other laboratories were given by:</p>
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<p>Adrian Jackson,Cardboard Citizens,UK</p>
<p>Das Beckwerk, Denmark</p>
<p>Ruth Kanner, Ruth Kanner Group,Israel</p>
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<p>Thanks to all the staff at CPR for organising such an inspirational forum opportunity right on our doorstep!</p>
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<p>For more reports please visit their website <a href="http://thedirectorsforum.blogspot.com/" rel="nofollow"><font color="#00D200" size="3">http://thedirectorsforum.blogspot.com/</font></a> and <a href="http://www.thecpr.org.uk/projects/conferences.php">http://www.thecpr.org.uk/projects/conferences.php</a></p>John Fox & Sue Gill- a huge inspirationtag:community.nationaltheatrewales.org,2009-11-19:3152760:BlogPost:207602009-11-19T22:45:01.000ZTracy Evanshttps://community.nationaltheatrewales.org/profile/TracyEvans
A huge thank you to John and Mathilde at NTW for organising todays Creatives talk given by John Fox and Sue Gill from Dead Good Guides, and founders of Welfare State International.<br />
<br />
What an immense contribution they have made to their communities through their art. Whilst keeping their 'eyes on stalks' and their feet on the ground, they have created some immensely powerful and transformational performances.<br />
<br />
Inspirational role-models for me as a new-comer.<br />
<br />
Thanks John & Sue
A huge thank you to John and Mathilde at NTW for organising todays Creatives talk given by John Fox and Sue Gill from Dead Good Guides, and founders of Welfare State International.<br />
<br />
What an immense contribution they have made to their communities through their art. Whilst keeping their 'eyes on stalks' and their feet on the ground, they have created some immensely powerful and transformational performances.<br />
<br />
Inspirational role-models for me as a new-comer.<br />
<br />
Thanks John & Sue