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Just some of the inspirational touchstones for my practice - added in no particular order
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Misbehaving Bodies: Jo Spence and Oreet Ashery
Wellcome Collection, London Visited on 25 Sep 2019, the day before the first Performance Lab - moving and a bit challenging emotionally. |
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We will not attach to the results
Combined class manifesto.
Note the big blank space underneath - room to be uncertain.
Love the way the glitter ball has insinuated itself into the pic.
(first lab - 26 Sep 19)
Combined class manifesto.
Note the big blank space underneath - room to be uncertain.
Love the way the glitter ball has insinuated itself into the pic.
(first lab - 26 Sep 19)
When you are bricking it always pays to have a hat or two on hand (rehearsing for lab 3 "beginning middle end" 16 Oct 2019)
Rehearsing sculpture shapes (SLP 24 Oct 2019)
photo credit: Montgomery Wilson
Saw this last week and loved it. We were lucky enough to work with Jordan Tannahill. I had already started reading his book Theatre for the Unimpressed when we had our first session with him. Had to try very hard not to fangirl. I will write up my responses in the blog to my scratch performance in that first session when I have more fully overcome my embarrassment!
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Couldn't resist getting it signed.
Post-it planning for Week 8Really helpful way to sort out ideas and shape a piece - wish my drawing skills were better but I can understand what I mean!
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'continual giving ... a mask for feeling like I do not need to receive'
Adrian Howells
Researching Adrian Howells at LADA yesterday (8th Jan 2020) I was reminded of Daniel Oliver's book launch there. The ‘Awkwoods’ event was a fine example of LADA’s ‘Braver Spaces Policy’.
It has become my new safe space.
It has become my new safe space.
Going back to my roots from devising collaborative performances to watching Gene Kelly, new inspiration from established artists like Lois Weaver and seeing old friends on screen in Bait, Mark Trezona's Suit - an homage and reimagining of Yoko Ono's Cut Piece
Saturday 25 January 2020
Getting back into the swing of things has meant getting back into seeing performance.
Last week I went to The Place and saw Lydia Harper and Collateral Damage as part of Resolution 2020
Getting back into the swing of things has meant getting back into seeing performance.
Last week I went to The Place and saw Lydia Harper and Collateral Damage as part of Resolution 2020
Then the following night saw Trygve Wakenshaw: Only Bones V1.4 at The Soho Theatre
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This first week back at QMUL it was The Yard and the first week of their January/Feb season of new work, NOW 20,
Dadderrs - Frauke Requardt & Daniel Oliver’s show at 7:30 followed by Eirini Kartsaki & Tasos Stamou Electronic music and exploring monstrosity - IN WAY SO BRUTAL
Both shows had bits that worked really well for me and other aspects that were less successful. It is great to be challenged by work which isn’t easily defined. Sometimes it is the bits that work less well at the time which are the most memorable. I saw both shows on Tuesday January 21st, the first night for both at this venue. Now, almost a week later I am still processing what made me smile, what made me less engaged, at the same time enjoying the memory of the almost visceral sense of being taken back to club nights under the arches in Vauxhall in the late 1980s.
In Dadderrs as well as opportunities to participate, “stubborn passivity” is also welcomed, both elegantly despite Daniel Oliver’s title “Doctor of Awkwardness”. This enabling an audience to make their own choice about level of involvement seems very sophisticated to me. Much wiser (and kinder) than the sometimes bullying style of audience participation that I still associate with some forms of stand up comedy.
Dadderrs - Frauke Requardt & Daniel Oliver’s show at 7:30 followed by Eirini Kartsaki & Tasos Stamou Electronic music and exploring monstrosity - IN WAY SO BRUTAL
Both shows had bits that worked really well for me and other aspects that were less successful. It is great to be challenged by work which isn’t easily defined. Sometimes it is the bits that work less well at the time which are the most memorable. I saw both shows on Tuesday January 21st, the first night for both at this venue. Now, almost a week later I am still processing what made me smile, what made me less engaged, at the same time enjoying the memory of the almost visceral sense of being taken back to club nights under the arches in Vauxhall in the late 1980s.
In Dadderrs as well as opportunities to participate, “stubborn passivity” is also welcomed, both elegantly despite Daniel Oliver’s title “Doctor of Awkwardness”. This enabling an audience to make their own choice about level of involvement seems very sophisticated to me. Much wiser (and kinder) than the sometimes bullying style of audience participation that I still associate with some forms of stand up comedy.
Wednesday, Wilton’s to watch The Watermill Theatre’s Macbeth - which incorporated The Rolling Stones’ Paint it Black, Jonny Cash’s version of Hurt and There is a House in New Orleans, all sung and played by cast members. Paint it Black worked particularly well. A great production for young people with a brilliant education pack to go with it (click on education pack to see, but be warned - it takes a while to load).
