Silence

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Latest

Moving and Being Still

I was sipping a cup of orange juice and hot water when Flora came over and asked me if I would like to do some moving and being still at the far end of the room. I said I was hung over and feeling pretty stodgy. She said she was too and that we could work with that. We did.
MONEY - It's Dramatic Potential

Money. It's involved in so much of what we do. It feels like an important thing to get a handle on in terms of representing life on stage. Making it, spending it, spending it wisely, blowing it, hoarding it banking it investing it gambling haggling - all totally dramatisable.
Mmmentoring

I called this session as I've been meaning to track down a Mentor for some time now; not knowing quite how to go about it, where to start and probably a bit of fear all being blockages. Here's what came out of the session: I was not alone in this Mentor vagueness - three other members of the session felt similarly and didn't really know who to approach and how, especially as some of us felt our work was quite broad. There was a feeling that a finding a Mentor should have an element of ‘fateness
MEASURING THE WEIGHT OF SILENCE

Duration of silence in weight. Mapping multiplicities A story that you tell is only part of this ‘flat land’ It was my mistake to think that I should be trying to explain my work.

Moving and Being Still

I was sipping a cup of orange juice and hot water when Flora came over and asked me if I would like to do some moving and being still at the far end of the room. I said I was hung over and feeling pretty stodgy. She said she was too and that we could work with that. We did.
MONEY - It's Dramatic Potential

Money. It's involved in so much of what we do. It feels like an important thing to get a handle on in terms of representing life on stage. Making it, spending it, spending it wisely, blowing it, hoarding it banking it investing it gambling haggling - all totally dramatisable.
Mmmentoring

I called this session as I've been meaning to track down a Mentor for some time now; not knowing quite how to go about it, where to start and probably a bit of fear all being blockages. Here's what came out of the session: I was not alone in this Mentor vagueness - three other members of the session felt similarly and didn't really know who to approach and how, especially as some of us felt our work was quite broad. There was a feeling that a finding a Mentor should have an element of ‘fateness
MEASURING THE WEIGHT OF SILENCE

Duration of silence in weight. Mapping multiplicities A story that you tell is only part of this ‘flat land’ It was my mistake to think that I should be trying to explain my work.
Masques and Anitmasques: Bringing Back Patronage

This idea first came up at a drunken Christmas party. However, even after sober, this silly idea still seemed to have some actual currency (not a lot mind you, so don't expect too much from this session) So the notion was does it make sense to bring back patronage as a viable way to produce theatre? `certainly in a broad sense, theatre is supported by patrons - from individual ticket holders to monies donated from large corporations or foundations.
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I called this session because I want to make a new piece of mask theatre and was very nervous about starting, even thought I have the masks and a studio to work in and to rehearse. So what was is stopping me? Delighted that people came and contributed and it was really useful. I was unsure of how to start and bring it out into the open helped me to accept the fact that I did want to make a new piece.
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I want to make work based on Mental Health using Clowning, Music and Comedy. I also wondered what are the boundaries? Bit of background: I was asked to perform at a Mental Health Charity's fundraiser after they saw me sing a comedy song about Mental Health. It opened up my idea to make more of a full show either on my own or with others. I am incredibly interested in this subject based on my own experiences and wanted to open it out for a D&D session to see what others thought.
Making our Audiences Active Advocates

Looking for ways of involving the audience beyond fundraising; breaking down the barriers between theatre-makers (insiders) & theatre-goers (outsiders). Proactive advocacy by theatre-goers on the value of the arts TO THEM. Advocacy could include lobbying government, funders,
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We've had some really inspiring and exciting European work appear in the UK over the past few years. Three Kingdoms, Castellucci, Ostermeier's Hamlet, Alain Platel, and many more. They've been big scale, ambitious works: There's been a lot of other British theatremakers around who've seen the work, and been really excited by it, and talked about there needing to be more work like this being made here. But, each time, after the shows move on, the energy seems to dissipate. We're part of Europe.
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I want to produce a night of contemporary short, funny plays. Funny doesn't have to be light and fluffy, it can be interesting and deep. But it has to be hysterical. We agreed that comedic theatre is not regarded as “real” theatre and it's often lumped in together with stand up comedy or sketch comedy. Comedic theatre can be relevant and important, as is every bit as difficult as “serious theatre”, if not more so.

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