A quick, fun Awareness Though Movement lesson that’s good for the whole family. Have fun exploring crawling like a baby.
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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.
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 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.
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.
On Saturday 14th May I will be giving a talk in Oxford at St Edmund Hall’s Centre for the Creative Brain. I’ll be talking about how theatre makers might draw on research from the field of neuroscience to shape their thinking about training and aesthetics.
A good pal and former colleague, Richard Tall, shared his photos from the R&D sharing ‘This is Who I am Now…’ I thought I would put this one up as it is rather lovely. It makes me hope I can find funding to continue the project.