I was very pleased to share my new interactive dance piece ‘Otherwise We Are Lost’ during my residency at Yorkshire Dance last week. The piece explores how scenography and design might be used to choreograph the audience’s movement. It draws a lot on my work with the Feldenkrais Method and my recent experiences with parkour.
I am proud to announce the publication of a special issue of Theatre, Dance and Performance Training that I’ve edited. The issue looks at the ways in which performance training has responded to rise of interactive, immersive and participatory aesthetics in performance. It includes an article that I’ve written about connecting techniques associated with the Stanislavskian tradition of acting to the aesthetics of live art and interactive performance.
Check it out here: https://www.tandfonline.com/toc/rtdp20/9/2
A few pictures from Philomela and her Sisters, which was commissioned for this year’s Theatre Without Borders conference at the University of Hull. The piece sought to explore and critique the treatment of female characters in Classical and Renaissance revenge tragedy. It connects dialogues surrounding #MeToo and #TIMESUP to a selection of works from the Western literary canon. (Virgil’s Aeneid, Ovid’s Metamorphoses, Euripides’ Hecuba and Shakespeare’s Titus Andronicus.) I am pleased to say that it will be back in Hull later this year.
Performers: Catherine Marsh, Caitlin McPhilemy, Kira Curtis, Sophie Stones.
Projection Mapping: Ed Denning.
Sound Design and Live-mixing: Jamie Nowell
Dramaturgy: Christian Billing.
Direction and Design: Campbell Edinborough
Photos courtesy of Cat Fergusson-Baugh
My new solo piece How To Look will be presented as part of ‘Hold Everything Dear: Performance, Politics and John Berger’, at the Bathway Theatre, University of Greenwich on 14th April. Inspired by the writings of John Berger, it integrates dance and spoken text to reflect on the complexities of looking and be looked at.
An image of Kelsey Burns and me during research and development at NYU in the spring. The project was looking at the how we might use somatic practices and contemporary performance aesthetics to stage/adapt/appropriate Titus Andronicus. I’m excited to say that I’ll be developing this work further with Christian Billing in 2018 at the University of Hull. We’re making a mash up of Ovid, Titus and Hecuba to present to the esteemed folk from Theatre Without Borders.
I am editing a special issue of the journal Theatre, Dance and Performance Training, focusing on training for immersive, interactive and participatory performance. The deadline for proposals for articles and essays is the 30th of November.
I’m happy to say that my monograph, Theatrical Reality: Space, Embodiment and Empathy, is out now, published by Intellect. It’s been a long time in the pipeline. Looking forward to hearing what people think. (Don’t mention the typos.)