I wrote up some notes for my current students following a session feeding back on their work.
They focus on how to make choices with reference to questions about spectatorship and reception.
A lot of the ideas draw on research from my book, Theatrical Reality, but I’ve tried to connect them to practical problems in the rehearsal room.
The basic question is how to keep focused on the audience when the audience isn’t in the room.
This is Version One. It could be a whole book, but hopefully what’s here will be useful.
Empathising with the audience
Walking Towards Ithaca is on at the Soho Theatre on the 11th and 12th November.
The play tells the story of a 200-walk from York to London – examining social alienation in the aftermath of Brexit along the way.
My new solo piece, Walking Towards Ithaca, will be part of Hull Truck’s Grow Season.
It combines the story of a 200-mile walk across Britain at a time of deep political conflict with reflections on Homer’s Odyssey. .
Blurring the boundaries between documentary, autobiography and myth, it’s a show that reflects on the complexities of human connection and belonging in world of anger and alienation.
A few images of Dancing Through Storytime at Halton Library and York Explore. Who knew stories were so exhausting?!?
My new interactive dance piece, Dancing Through Storytime, will be on in October.
It’s an interactive performance for families, integrating dance, movement and storytelling. During the 15 minute performance children aged 4-8 and their grown ups will hunt for sea creatures, get lost in a forest and float into space. It’s a show for everyone who has ever wanted to jump into their storybook.
13th October at Halton Library in Leeds. 11-1pm
20th October at York Explore Library. 10-4pm
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