Date of Event: April 3, 2020 Event Type: Interim Event
CfP: TaPRA Performance and New Technologies Working Group Interim Event – Friday 3rd April 2020 Digital Disruptions: Bugs and glitches in live performance Hosted and supported by New Adelphi Theatre: https://www.newadelphitheatre.co.uk/ and the Arts, Media and Communication Research Centre at the University of Salford Keynote: Matt Adams, Blast Theory: https://www.blasttheory.co.uk/ Performance and event coverage by The Ladies of the Press: http://www.ladiesofthepress.org/ What happens when we apply an aesthetic or disturbance of the digital space, such as a glitch or bug, to a live performance event? Paul and Levy outline the term ‘glitch’ as referring to ‘images and objects that have been tampered with’ or ‘corrupted’ and that this quality can be created ‘by using machines or digital tools in methods different from their normative modalities’ (2015, p.31). It is from this provocation that our interim event call arises – we are interested in curating a day of discussion and practice, where the notion of a glitch or bug in the system of a digital programme or machine is explored in relation to and through live performance practice. How might bugs or glitches – ‘ghosts in the machine that allow chance computational and electronic phenomena to appear and participate in the structure of the work’ (Causey 2016, p.454) – be provoked or applied to performance making? How can a ‘glitch aesthetic’, bringing to the centre the peripheral and ‘superficial flaws’ we experience in encounters with the digital (Betancourt 2017, p.7), be present in performance events? Might it, as Betancourt suggests, have the capacity to re-materialise, disrupt and disturb ‘the aura of the digital’ as ‘a self-productive domain, infinite, capable of creating value without expenditure’ (p.15)? What resistance can such practices offer to ‘surveillance capitalism’, operating ‘through the automated medium of an increasingly ubiquitous computational architecture of “smart” networked devices, things and spaces?’ (Zuboff 2019, p.8) We welcome proposals for papers, provocations, practice as research demonstrations and performances that respond to the call and may be aligned with the following areas:
Date of Event: May 13, 2019 Event Type: Interim Event
Tate Exchange at Tate Modern
Session 1: Describing Opening Description by Giulia Palladini, University of Roehampton Burning and invisible words: Chukovskaya on Akhmatova’s Requiem Emily Orley, University of Roehampton A principled hesitancy Joe Kelleher, University of Roehampton 13.45-15.15 Session 2: Reporting Preliminary Report by Georgina Guy, Royal Holloway, University of London Bringing Things In: Delivery and Joke Logistics Emma Bennett, University of Leeds Sonic inscription and improvisatory narrative: Richard Ridgway and the mute swan Ella Finer, writer, composer and curator 15.30-17.15 Session 3: Narrating Instigating Narrative by Johanna Linsley, University of Roehampton Re-Telling the Chauraasi Archive: Testimony after Trauma Sharanya Murali, independent researcher Narrating Ephemerality: Joseph Beuys and Terry Fox’s Isolation Unit in Print Tancredi Gusman, Freie Universität Berlin The Sober and the Unsound: Narrative, Addiction, Repetition Season Butler, writer, artist and dramaturg 17.15 Drinks and Discussion
Date of Event: May 17, 2019 Event Type: Interim Event
TaPRA History & Historiography working group
Interim Event: ‘Intangible Heritage’
Friday 17th May 2019, 9:30-17:00,
at the Performance Lab, Sheffield Hallam UniversityJoin us for a day of discussion exploring the relationship between current research methodologies and tangible/intangible heritage in contemporary practice and performance historiography. In 2003 UNESCO defined “intangible cultural heritage” as the ‘means the practices, representations, expressions, knowledge, skills – as well as the instruments, objects, artefacts and cultural spaces associated therewith – that communities, groups and, in some cases, individuals recognize as part of their cultural heritage. This intangible cultural heritage, transmitted from generation to generation, is constantly recreated by communities and groups in response to their environment, their interaction with nature and their history, and provides them with a sense of identity and continuity, thus promoting respect for cultural diversity and human creativity.’ Such ‘intangible heritage’ UNESCO contends is manifest in: (a) oral traditions and expressions, including language as a vehicle of the intangible cultural heritage; (b) performing arts; (c) social practices, rituals and festive events; (d) knowledge and practices concerning nature and the universe; (e) traditional craftsmanship. https://ich.unesco.org/en/convention Subsequent works such as Smith and Akagawa,(2009), Harrison, (2011), Jackson and Kidd, (2011), Pietrobruno, Gavin (2013), Ott and Pozzi (2015), Taylor (2016), and Ishiguro (2018), have explored the scope, tensions and possibilities that exist around conceptualizations of heritage while organisations such as Arts Council England and the Heritage Lottery Fund regard ‘intangible heritage’ as an increasing imperative in their grant allocations. For The Machinery Caroline Radcliffe and Sarah Angliss have collaborated to create a contemporary, live performance of Pat Tracey’s original clog dance, (the steps for which Pat herself has traced back to pre-1820). The piece mixes dance steps with music and video to reflect the conditions of women’s repetitive labour and the human/automaton relationship created by the Industrial Revolution and described by Marx in Das Kapital (1867). Together, Radcliffe and Angliss filmed and recorded the working machinery at Quarry Bank cotton mill, juxtaposing clog dancing with the repetitious script of a contemporary call-centre and the overwhelming sounds of the cotton machines to create a performance that brings to the fore the intricate relationships between the industrial vernacular and technologies of the nineteenth and twenty-first centuries. Part of the project is to relate it to the creative response of workers to the industrial revolution and how, by performing the workplace, they coped with it. More recently The Machinery has been recreated for Ironbridge Gorge Museums, (2018) as a large-scale immersive audio/visual installation by Jon Harrison with support from the Arts Council England, the University of Birmingham and Ironbridge Gorge Museums. Radcliffe, Harrison and Angliss’ The Machinery engages with the recovery of ‘intangible heritage’ as well as the History and Historiography working group’s ongoing theme of ‘Industry Professionals/Professional Industry.’ As such, our interim event will feature a screening of The Machinery, accompanied by a presentation from Caroline Radcliffe and Sarah Angliss. Our afternoon discussion will be framed around pre-circulated reading and invited provocations based on individual experiences of working with/from intangible heritage. For further info re The Machinery, please see: https://www.youtube.com/watch?v=LeoWj8DJL4Y https://www.youtube.com/watch?v=naCDVVKA724&feature=youtu.be If you’d be interested in attending our interim event please contact Hayley Bradley and Lucie Sutherland at firstname.lastname@example.org We also invite applications for up to two postgraduate student travel bursaries for this event (£100.00 to be made available, which will form a contribution to travel costs). Postgrads wishing to be considered for a bursary should write to the conveners explaining how and why the event would benefit their current postgraduate study. Please note: TaPRA interim events are open to both existing and new members. If you’re not already a TaPRA member you will need to join the TaPRA membership in order to attend. TaPRA membership can be obtained at: http://tapra.org/join-tapra/ We’d also encourage you to sign up to the working group via the TaPRA website and please see our CfP for the September 2019 conference (deadline for proposals is Monday 8th April) on ‘European Legacies and Connections’: http://tapra.org/call-participation/tapra-2019-surrey-history-historiography-wg-cfp-industry-professionalsprofessional-industry-european-legacies-and-connections/ Suggested reading: Findlay, G. (2013). Mapping Tangible and Intangible Cultural Heritage: The Splinters Archive Project. Australasian Drama Studies, 113–129. Retrieved from http://search.proquest.com/docview/1424374995/ Harrison, R. (2011). Intangible heritage embodied and Intangible heritage. International Journal of Heritage Studies, 17(3), 280–282. https://doi.org/10.1080/13527258.2011.557864 Ishiguro, M. (2018). Malay Theatre: Intangible Cultural Heritage and Islam: Wayang Kulit Kelantan and Mak Yong by Kathy Foley and Patricia Hardwick, and: Tradition in Transition: Intangible Heritage in South and Southeast Asia. Asian Theatre Journal, 35(1), 216–221. https://doi.org/10.1353/atj.2018.0024 Jackson, A & Kidd, J. (2011). Performing Heritage. Manchester: Manchester University Press. Ott, M., Dagnino, F., & Pozzi, F. (2015). Intangible Cultural Heritage: Towards collaborative planning of educational interventions. Computers in Human Behavior, 51, 1314–1319. https://doi.org/10.1016/j.chb.2014.11.039 Radcliffe, C., & Angliss, S. (2012). Revolution: Challenging the automaton: Repetitive labour and dance in the industrial workspace. Performance Research, 17(6), 40–47. https://doi.org/10.1080/13528165.2013.775758 Pietrobruno, S. (2013). YouTube and the social archiving of intangible heritage. New Media & Society, 15(8), 1259–1276. https://doi.org/10.1177/146144481246959 Smith, L.S & Akagawa, N. (2009). Intangible Heritage. London: Routledge. Taylor, D. (2016). Saving the “Live”? Re-performance and Intangible Cultural Heritage. Études Anglaises, 69(2), 149–161. Retrieved from http://search.proquest.com/docview/1841298542/
Date of Event: May 8, 2019 Event Type: Interim Event
TAPRA Performance & Science Interim Event
Science Gallery/King’s College, London
8 May 2019 2- 8.30pmThe Performance & Science Working Group invites applications to attend our Interim Event at King’s College London, which takes up the theme of bodily regeneration, repair and replacement. The emerging sciences of regenerative medicine promise the possibility of combating terrifying disease and physical trauma. They also sharpen our fears about cyborg and synthetic beings. This ambivalence offers rich ground for performance-makers and those who study the interface between theatre, performance and the human sciences. The event involves meetings with scientists at the cutting edge of regenerative medicine, a tour of the laboratories at the Centre for Stem Cells and Regenerative Medicine and of the Spare Parts exhibition, a working dinner and attending a related science-performance. The event is FREE to all TAPRA members but places are limited. To apply for a place, please email email@example.com by 12 April 2019 with a brief (100 word) outline of how the event will support your current or future research. Priority will be given to those whose research aligns most closely with the event. Postgraduate students can also apply for support with travel costs – please include estimated costs in your email. The criteria for funding will be lack of institutional support, alignment of research interest to the event, cost of travel. All participants must be TaPRA members. If you are not currently a member, you will be asked to join the organization at the interim rate of £15 before the date of the event. http://tapra.org/join-tapra/
Schedule2-4pm: visit to Centre for Stem Cells and Regenerative Medicine 4- 5.30 pm: tour of the Spare Parts exhibition at the Science Gallery. This exhibition explores the art, science, ethics and technology that enables human repair and alteration. It considers the emotional and psychological aspects of living with a replacement organ or limb; organic or engineered. 5.45-6.45pm: working dinner: reflecting on performances of bodily repair, replacement and recuperation. 7 – 8.30: performance: New Organs of Creation New Organs of Creation presents a hypothetical development of the human larynx (voice box), using tissue engineering, to extend the ability of the voice as a transformational instrument. The project is made in collaboration with Prof Lucy Di-Silvio who used tissue engineering to grow human cells on the prototype anatomical larynx.
Date of Event: April 3, 2019 Event Type: Interim Event
Schedule11:30-11:45: Welcome & introductions 11:45-12:45: Keynote by Dr. Salomé Voegelin, ‘A Voice that Speaks in Raptures: Performing Language’s Formless Self’ 12:45-1:45: Lunch 1:45-2:45: PGR panel of invited respondents: Sophia Edlund (Exeter), Jacob Downs (Southampton) and Edward Spencer (Oxford) 2:45-3:45: Performance talk by Dr. Kevin Logan: Score for Chanting (x3) Redux 3:45-4:30: General discussion
Keynote AbstractA Voice that Speaks in Raptures: Performing language’s formless self This talk performs essayistic instructions. It reads, sings and plays an essay-score: an arrangement of awkward grammar and speculative words that seek to grasp sound on its own terms and trigger its performance in a creative tension from which the possibility of impossibility can emerge. The essay has the potential to reveal and undermine authoritarian discourse and the ability to write the formless and the incomplete; the score has the emancipatory force to engage in the unperformance of the expected as an affirmative doing of different instructions towards the production of the unthinkable and the unthought. Thus together they revocalise definitions and truths and tear the textures of the known to assert a different voice: a voice that speaks in raptures and exhilarations to perform language’s formless self. This self is not framed in referential thinking and the practices of a signifying system, but sounds as evanescent inarticulation the imagination rather than the necessity of the real. Salomé Voegelin is an artist and writer engaged in engaged in listening as a socio-political practice of music, sound, art and the everyday. Her practice includes gallery exhibitions, site-specific work, participatory and collective activities, as well as performances and publications. Her latest book ‘The Political Possibility of Sound: Fragments of Listening’ was published by Bloomsbury in 2018. Voegelin is a Professor in Sound at the London College of Communication, UAL.
Performance Talk AbstractScore for Chanting (x3) Redux A speculative blending of performance, theory and audience engagement, designed to examine sonic materiality via my practice-led research which posits a shared ontology between the sonic and the performative. This will include some sort of playful and conceptual repurposing of object-oriented philosophies such as speculative realism and new materialism(s). Kevin Logan is a cross-disciplinary artist/researcher/teacher based in London, he has been making and exhibiting since 1990. His work foregrounds sonic practice using a speculative blending of writing, performance, moving-image, and installation. He has performed internationally, has had sound works included on compilation CDs and radio/web broadcasts, and audio-visual works screened in festivals worldwide. He has also had theoretical and experimental texts published in print and online. Having completed a PhD in 2018, Kevin’s current research focuses on the possibilities of contingent and innovative pedagogy within sound arts. He is a founder member of the collective thickear formed in London in 2012. This collaborative work engages with concepts of exchange and public transaction through combinations of sound, installation, participation and performance. thickear have presented provocations and staged symposia internationally.
Date of Event: April 6, 2019 Event Type: Interim Event
Magic, Exits/Endings and Water: How does performance escape? Joint interim event 2019: Theatre, Performance and Philosophy WG + Applied and Social Theatre WG with contributions from: Federico Campagna, Tim Prentki, Vivian Chinasa Ezugha In this day-long event at the University of Portsmouth, the Theatre, Performance and Philosophy Working Group and the Applied and Social Theatre Working Group come together to interrogate how an exit from today’s crisis of reality might be envisioned and conjured through performance. The image of a deadlock pervades current political, philosophical and artistic debates on the contemporary world, in its various articulations through discourses of crisis, impotence, paralysis. Fed by this condition of impasse, plans of escape are ubiquitously being drawn up, plotting exits, closures and endings. Writing a ‘phenomenology of the end’, Franco ‘Bifo’ Berardi (2015) constructs a world with no end, a series of conjunctions and concatenations: ‘and, and, and’ – as in Deleuze and Guattari’s rhizome, ‘always in the middle’. Is this a real promise of transformation, envisaging modes of reality and renewing horizons of thought? Or might the inert to-ing and fro-ing also mean that we are somehow stuck in the possible,hardly able to contemplate clear cuts from a state of things that might take us to what only seems impossible. We (forever to be defined because of a paralysing concern of excluding anyone) seem to suffer from a collective vertiginous fear of finitude. Perhaps the vertigo of our superfluous selves in a watery world that could do without humans. Federico Campagna (2018) defies hegemonic assumptions that there is no alternative to today’s reality-system: his answer to the current impasse is to imagine a different form of existence that valorises the ‘magic’ of life. From the perspective of applied theatre, the question of what is possible/impossible, of endings, exits and leavings, is one that, at a very pragmatic level, also poses a variety of challenges – are we in a deadlock with what is possible in applied and social theatre? What happens when a project ends, for example? What continues? Does anything ‘change’? At a more broadly socio-political level, there are questions of ethics, legacy, and transformative potential. As Tim Prentki has written: ‘The transformative process of becoming human is never properly accomplished, is only halted by death, and is attempted anew in each generation. Theatre offers arenas where we can try out transformations, where we can see if the ass’ head fits, and where it does not we can try again. In the words of Samuel Beckett: “All before. Nothing else ever. Ever tried. Ever failed. No matter. Try again. Fail again. Fail better” (Knowlson 1996: 674).’ (Prentki 2018: 170) How does performance escape? Can it summon an alternative system of reality? Can it make an exit? Can it disperse, dilute, liquefy our fears? Can magic help us imagine a form of existence governed by different rules, foregrounding the mystery of life? Can water, the sea, the ocean, which are capable of dissolving, disorienting and engulfing, foreground the vulnerability of life not as a weakness to be mastered, but rather as the basis for an alternative understanding of solidarity? The event aims to engage participants in roundtables and curated discussions at the intersection of philosophy and practice. The programme will include:
Date of Event: April 9, 2019 Event Type: Interim Event
TaPRA Performance, Identity and Community WG
Interim Event 2019: On Cruel Optimism and Cruel Nostalgia
With contributions from Professor Robert Eaglestone, Dr. Louise Owen, and a performance by fanSHEN.In Cruel Optimism Lauren Berlant views the present as a moment of suspension, or ‘the impasse’, during which ‘the traditional infrastructures for reproducing life – at work, in intimacy, politically – are crumbling at a threatening pace’ (2011, p.5); the resolution of past certainties and attachments Berlant refers to, widely felt in the spheres of politics, the environment and conditions of everyday life, produce the need for modes of adaptation that create flexible and resilient subjects able to navigate such precarities. However, notwithstanding the feelings of ‘being stuck in time’, nostalgia for past ideologies or a lost past – what Rob Eagleston names ‘cruel nostalgia’ (2018) – also deeply threatens the reproduction of life and identity as relational in favour of nationalist and xenophobic discourses. In neoliberal times, calls for personal ‘resilience’ can also mask the demand for individuals to pursue biographical solutions to systemic crises. What has happened to the coding of the present envisioned by Berlant? What are the ramifications of cruel nostalgia? What can performance tell us about social reproduction in times of crisis? TaPRA’s Performance, Identity and Community working group’s 2019 interim event wishes to look at how the temporalities of optimism and nostalgia affect how we view this present moment and its relationship with the past and the future – a moment that at the time of the event’s unfolding coincides with a key juncture in the history of the United Kingdom, and a united Europe. As Sara Ahmed reminds us, anxieties about the future are incumbent in the politics of hope. Hope, a future-oriented affect, ‘involves imagination, a wishfulness for what we are striving for in the present’ and encompasses anxiety as some of the things we wish for will fail to happen, or be fundamentally undermined (Ahmed, 2010, p. 182-183). Against the above backdrop, we ask:
Date of Event: April 24, 2019 Event Type: Interim Event
24th April 2019, University of South Wales, Cardiff Campus, The ATRiuM Confirmed Keynote Speaker: Kaite O’Reilly Confirmed invited contributors: Prof Phillip Zarrilli and Sara Beer Wine Reception and response to the day from Working Group Conveners, Kate Craddock, Jane Turner, and James McLaughlin In the preface of Atypcial Plays for Atypical Actors by Kaite O’Reilly, John E. McGrath highlights how O’Reilly ‘doesn’t imagine something that the actor fulfils – the writer opens a world of possibilities that the actor enters with their own complex, resistant, bodies and selves’. (2017) Considering the above proposition, the TaPRA Performer Training Working Group invites 15 minute practice-based responses, provocations, lecture-demonstrations and papers, exploring and reflecting on Embodied/Embodying Performer Training: Practices and Practicalities. Taking cue from Judith Butler’s (1993) proposition that ‘bodies never really comply with the norms by which their materialization in impelled’ we seek to provoke on several sub questions to the proposed:
Date of Event: April 6, 2019 Event Type: Interim Event
Immersive and Interactive Technologies and Live Performance: VR/AR/MR practices
TaPRA Performance & New Technologies Working Group Interim Event
Saturday 6th April 2019, University of South Wales, Cardiff Campus, The ATRiuM
Booking: https://immersivetechnologies.eventbrite.co.uk [This is a one-day event, with tea/coffee and lunch included and all participants must be TaPRA members. If you are not currently a member, you will be asked to join the organization at the interim rate of £15 via http://tapra.org/join-tapra/ before the date of the event.]
Keynote Speaker: Dr Jorge Lopes Ramos (executive director ZU-UK)
Launch & Wine Reception: Launch of Performance and VR Practice special issue, IJPADM. Wine reception and conversation with Dr Kerry Francksen and Prof. Sophy Smith (guest editors).
Following on from the annual conference at Aberystwyth and previous group events and conversations, the aim of the 2019 interim event is to explore different practices and modes of immersive and interactive technologies in live performance, as well as to investigate new narrative possibilities and audiences’ virtual experiences in live performance created by immersive technologies. As Kerry Francksen and Sophy Smith (2018) note, ‘[t]he use of virtual reality (VR) technologies has seen a significant resurgence in both industry-led and artistic communities in recent times. This re-emergence can be linked to the continuing growth and advancement in smart phone technologies (e.g. developments in accelerometers and gyrospic chips), as well as a significant interest within the games industry for developing a greater quality gaming experience.’ We want to explore this emergent theme and extend the 2018 TaPRA working group’s discussions on Empathy and Inclusiveness in Immersive Technologies to question: What new tools and spaces do immersive technologies offer to theatre and live performance? What opportunities and challenges do immersive technologies bring to the digital performer/performance-maker, from new forms of audience/participant interaction to new performance training methodologies, to new rehearsal methods and documentation strategies?Itinerary: 11.30-12:20 Registration, lunch [ATRiuM, Mingle], One-to-one short Demo of Goodnight, Sleep Tight performance (first come first served) [ZEN Room] 12:20 Welcome 12:30 Keynote: Dr Jorge Lopes Ramos (executive director ZU-UK) 13:30 Dr Joseph Dunne-Howrie (research associate at ZU-UK Theatre and Digital Arts company), Post-Immersive Performance. Chair: Dr Christina Papagiannouli (University of South Wales) 13:50 Break 14:00 Empathy, Inclusiveness and Embodiment in Immersive technologies performance practices Eleni Kolliopoulou (Ulster University), Empathy and inclusiveness in immersive technologies: Sky-field 1&2. Dr Styliani Keramida (University of Reading), Performance, Immersive Technologies and Theatrical Aesthetics: Remediating video gaming technologies in the theatre in order to produce effects of empathy and inclusiveness. Kerryn Wise (De Montfort University), DIS/PLACE. Chair: Dr Piotr Woycicki (Aberystwyth University) 15:15 Break 15:30 Immersive Storytelling and Dramaturgy: Immersive technologies as a Narrative Medium Dr Harry Robert Wilson (Digital Thinker in Residence, National Theatre of Scotland), Virtual Reality experiences as intimate performance. Prof. Sophy Smith (DeMontfort University), Immersive Dance Practice and Storytelling – a transdisciplinary approach. Dr Piotr Woycicki (Aberystwyth University), Intermedial dramaturgies of flux in the AR version of Our Lady of Shadows. Chair: Dr Joanne Scott (University of Salford) 16:45-18:00 Launch and Wine reception Launch of Performance and VR Practice special issue, IJPADM. Wine reception and conversation with Dr Kerry Francksen and Prof. Sophy Smith (guest editors).
Date of Event: April 20, 2018 Event Type: Interim Event
You are warmly invited to the following TaPRA Interim Event on Performing Science: TAPRA Performance and Science Working Group Interim Event Jodrell Bank Observatory, University of Manchester Friday 20 April 2018, 12.30-4.30pm Performing Science: Seeing the Unseen The Observatory is home to the giant Lovell Telescope, a potent and iconic symbol of our attempts to see and understand the cosmos. As the site for our second Performance and Science interim event, the observatory offers a productive metaphor for thinking about performance in relation to scientific aspiration, making the invisible visible, visualizing technologies and scale. The session will be framed by short provocations from Dr Paul Johnson (University of Wolverhampton and author of Quantum Theatre) and Dr Alex Kelly (Third Angel Artistic Director, currently touring 600 People, his show about astrophysics). These will be followed by the opportunity for participants to share their responses and their own research, along with some time to explore the Observatory. Paul Johnson’s provocation: Science can be thought of as making the invisible visible: radio telescopes in the MERLIN array (of which Jodrell Bank is a part) have observed M87 galaxy, at a distance of just under 55000000 light years; electron microscopes magnify their subject 10000000 times; cloud chambers show the traces of ionising radiation; neutrino detectors can discern almost intangible particles, billions of which pass through our bodies every second without our notice. Whilst performance might be a contested concept, developed through a series of disciplinary dialogues, the origins of it is are as a human activity. What I would like to explore in this provocation is how performance, as a human activity, can connect with the scale of investigation with which science engages. How can performance and science meet in a constructive interference, without one becoming subservient to the scale of the other? Alex Kelly’s provocation: How does it make you feel? In Third Angel we’ve always said that we make work about the things that fascinate us or bother us. The stuff your brain returns to when its meant to be thinking about something else. That might be personal relationships and domestic details, or it might be circadian rhythms, timezones, cartography or the fact that the Voyager spacecraft are, you know, actually out there, right now, at almost incomprehensible distances from the human beings who built them. We explore these ideas through conversations and collaborations with specialists and experts in their fields: psychologists, cartographers, astrophysicists. Our aim with these projects is to make something that responds to the emotional, human impact that their research has. Participation fees: £20 (per TaPRA & non-TaPRA member) and £10 (per TaPRA and non-TaPRA PG), which includes lunch and refreshments at the Observatory. Please register for the event here: https://estore.manchester.ac.uk/conferences-and-events/faculty-of-humanities/school-of-arts-languages-and-culture/drama/performance-and-science-research-seminar Further details about the Observatory and travel to the site are available here: http://www.jodrellbank.net There are postgraduate bursaries available for the event. Please contact Gianna Bouchard (firstname.lastname@example.org) for further information. We hope to see you there! Best wishes, Alex, Gianna and Simon (Co-organisers: Alex Mermikides, Gianna Bouchard and Simon Parry)
Date of Event: July 4, 2018 Event Type: Interim Event
TaPRA’s Performance and New Technologies Working Group proposes a day-long interim event on Wednesday4thJuly 2018 at Buckinghamshire New Universityin High Wycombe, interrogating different modes of interaction and intimacy between performers, technologies and audiences/participants. We are particularly interested in staging practice-led work proposing new strategies and sensibilities emerging through these interactions and invite performers / performance makers to stage intermedial work of 20-30 minutes duration that raises / examines / explores the following concepts, processes or themes:
Date of Event: June 9, 2018 Event Type: Interim Event
Loughborough University London, Queen Elizabeth Olympic Park, London E159 June 2018, 11am-5:30pm
The language of ‘outreach’ shapes conversation on university and artistic life, from ‘strategic visions’ to arts council applications. But what does it mean to reach out? What is the discourse on outreach as a gesture – an act and effect?
In this day-long workshop, the TaPRA Theatre, Performance and Philosophy working group aims to think together about gesture, site, institutional politics and the labour of reaching. We will ask: what does it mean to imagine a cultural sphere from which reaching takes place? How are we implicated in cultivating intellectual and creative spaces and ties that fail again and again to bind, to shift – to query the form of these structures of ‘outreach’? If public impact is meant to ‘change’ those with whom our work comes into contact, how do we analyse and eventually reclaim the dramaturgy of this encounter?
Situated in the newly built Queen Elizabeth Olympic Park, an area of urban ‘regeneration’ that has become a cultural hub for major dance companies, start-up cafés and more, the workshop endeavours to reimagine and rearticulate the cultural economies and landscape ecologies that inform our intellectual and artistic practices, querying how political/policy environments shape the way we think and make our work ‘public’. The workshop aims to lay groundwork for further manifestations of these institutional choreopolitics – welcome to all.Schedule
10.45-11.00 Registration and coffee
11.00-11.30 Welcome and opening remarks/provocations: Kélina Gotman, Fred Dalmasso and Daniela Perazzo Domm
11.30-12.30 Critical practice: Owen G. Parry and Johanna Linsley, “A Performance Hangout”
12.30-1.45 Lunch (details tbc)
1.45-2.30 Choreographic works 1: Sivan Rubinstein, “MAPS”
2.30-3.15 Choreographic works 2: Rita Marcalo/Instant Dissidence, “Perambulating Dance”
3.45-4.30 Writing/Performance: Sofia Rodrigues Boito, “Community and collaborative theater”
4.30-5.30 Roundtable discussion: Diana Damian Martin, Arabella Stanger, Nik Wakefield, with Kélina Gotman and Daniela Perazzo Domm
All are welcome!
The workshop is free for students, independent practitioners and unaffiliated academics. We kindly request participants on full salaries to contribute £10 towards catering costs.
All participants should be current members of the Theatre and Performance Research Association (TaPRA). You can register at a discounted rate for £10, either on the day or (preferably) here: http://tapra.org/join-tapra/ (“interim event only”).
Notes on participants
Owen G. Parry is an artist and researcher working across performance cultures on subjects including trash, biopolitics, gay sex, fandom, fascism and Yoko Ono. The performance hangout is a mode of theatre which uses live fictioning, altered duration, non-productivity and “being together” as a means of interrogating the blurring of work and leisure under neoliberalism, the co-option of avant-garde tactics by the fascist right, and the corporate imperative “to participate”. It’s been developed for the four-hour performance fic.the.sky, commissioned by Fierce Festival, Birmingham 2017.
Johanna Linsley (University of Roehampton) is an artist, writer and researcher. She is a founding partner of UnionDocs, a centre for documentary arts in Brooklyn, NY, and a co-founder of the London-based live art domestic partnership, I’m With You. Her current research project “Acts of Assembly” (funded by Leverhulme Trust) examines the face-to-face meeting as a social genre.
Sivan Rubinstein is an Israeli choreographer and researcher based in London. Over the last two years, she has been researching and exploring migration and mapping through the forms of dance, visual arts and music. This became a system of movement that, like a language, moves through time and space. MAPS is a research and dance project which looks at the constantly changing nature of the world. It includes the audience-participation performance Active Maps.
Rita Marcalo is an independent artist whose socially-engaged choreographic practice brings different artists together, in different combinations, to realise different ideas. Her company, Instant Dissidence, invents ways of offering other people art experiences. Her latest project, One Last Dance, is a two-stage perambulating dance between Guildford (the first city Rita lived in when she arrived in the UK as an Erasmus student in 1994) and Cloughjordan (the rural Irish village where she is relocating post-Brexit).
Sofia Rodrigues Boito is a performer, playwright and researcher interested in artistic creation in a hybrid field. Sofia’s work unfolds in collective creations, including through theatre performances with adolescents. Born in São Paulo, Brazil, Sofia is a PhD candidate in performative writing (University of São Paulo) and is currently developing an artistic residence in Cité Interanationale des Arts, Paris.
Diana Damian Martin (Royal Central School of Speech and Drama) is a writer, critic, curator and academic. Her work is concerned with experimental criticism, writing as performance, performance and political philosophy, and politically-engaged performance and live art.
Arabella Stanger (University of Sussex) is an academic whose interests reach across dance, theatre and performance, with an emphasis on the theoretical exploration of performance as social practice.
Nik Wakefield (University of Portsmouth) is a researcher, artist and writer working mostly in performance but also across dance, theatre and visual art. His research is concerned with theoretical issues of time and ecology in contemporary performance and art practices.
Kélina Gotman (King’s College London), Fred Dalmasso (Loughborough University) and Daniela Perazzo Domm (Kingston University London) co-convene the TaPRA Theatre, Performance and Philosophy working group.
Date of Event: March 28, 2018 Event Type: Interim Event
“The passion for destruction is a creative passion, too!” (Mikhail Bakunin, 1842)
Anarchy is at once creative and destructive. Its creativity is often predicated on relatively peaceful forms of dissensus that target a symbolic order or ideology. However, whilst anarchism has at times aligned with violent forms of direct action, anarchism’s creative impulses are routinely folded into narratives that demonize diverse forms of dissent as violent assaults not just against an established order like a government or forces of governmentality, but against society and its constituents. This afternoon-long event responds by challenging this limited understanding of anarchy and anarchism by addressing anarchy as a source of creativity and hope, in particular by focusing on the ways in which artists past and present have turned to anarchist principles as a source of inspiration. Anarchist thought played important roles in the development of modernism, postmodernism and the avant-gardes (notable examples include the Situationist International, the Living Theatre and the San Francisco Diggers, as well as anarcho-punk and DIY), providing valuable context for how we might approach the politics and aesthetics of live art and contemporary performance. Anarchist principles also underpin the tactics and strategies of multiple forms of protest and educational initiatives that make creative use of theatre and performance (for instance, Reclaim the Streets and the Antiuniversity), encouraging an address not just of what we might consider in a research or pedagogic context, but also how we might do so.
In proposing anarchism as a key theme for our next interim event, and as the basis for a longer-term consideration of anarchy and performance, TaPRA’s Performance, Identity and Community Working Group are interested in addressing and unsettling assumptions that connect violence to anarchism by exploring the significance of hope and desire in anarchist thought and action. We’ll be mapping various historical intersections between art and anarchism, and asking how these might form an illuminating context for makers of theatre and performance in the present moment. Finally, we are interested in what theatre and performance might have to offer to how we conceptualise anarchism and make sense of its value and significance.
For this interim event, we invite regular members of the Working Group and anyone with an interest in our themes to register and participate in scoping out the terrain of anarchism, desire and performance in an afternoon of discussion, debate and practical experimentation.
The event will be taking place at Camden People’s Theatre in London, and runs as follows:
13:15-15:15: Panel and open discussion. Guest Speakers: Ally Walsh (University of Leeds), Valeria Graziano (Middlesex University), and Shiri Shalmy (Antiuniversity Now and independent curator and producer)
15:30-17:00: Practical workshop & discussion with performance maker and scholar Daniel Oliver
This event is free, but all attendees must be (or become) registered TaPRA members. Please register for the event here: https://www.eventbrite.com/e/anarchy-desire-and-performance-tickets-43287079821
Date of Event: February 24, 2018 Event Type: Interim Event
TaPRA Applied and Social Theatre Working Group
Queen’s University, Belfast
Saturday 24th February, 2018
(and Open Meeting of the AHRC “Objects with Objectives” Research Network on Friday 23rd)
Date of Event: March 25, 2017 Event Type: Interim Event
Date of Event: May 7, 2016 Event Type: Interim Event
Citizens Theatre 119 Gorbals Street – Glasgow Saturday 7 May 2016 PLEASE CONFIRM ATTENDANCE BY MONDAY 4 APRIL TO Clare Finburgh: email@example.com Sam Haddow: firstname.lastname@example.org Guest Speakers: Zinnie Harris (playwright), Dominic Hill (artistic director, Citizens Theatre Glasgow), David Greig (playwright), Graham McLaren (director), Graham Eatough (director), Mark Brown (critic). The Directing and Dramaturgy Working Group of TaPRA (Theatre and Performance Research Association) is hosting an event around This Restless House, Zinnie Harris’ adaptation of Aeschylus’s Oresteia, directed by Dominic Hill at the Citizens Theatre Glasgow. This event, which will begin at 9:30am and run until after the evening performance, will include: an opportunity to see all three parts of This Restless House; discussions with the production’s creative team; a round table between some of Scotland’s leading theatre-makers; academic papers on the subject of tragedy and the contemporary. The discussions will aim to explore how recent interest in theatrical tragedy – modern adaptations of classics as well as new plays – might reflect the accelerating social, political and ecological crises of the early twenty-first century. We will discuss this question both in relation to writers’, dramaturgs’ and directors’ creative outputs, and to Scottish theatre in general. Attendance at the day will cost the following (prices include morning tea/coffee and lunch): £10 to waged TaPRA members £20 to waged non-TaPRA members (£10 will go towards TaPRA membership) £5 non-waged TaPRA members £15 non-waged non-TaPRA members (£10 will go towards TaPRA membership) Please note that since this event is in part sponsored by TaPRA, all attendees are required to be TaPRA members. For details on the TaPRA organisation, please see: http://tapra.org/ Please bring your fee with you in cash on the day. Please purchase your own performance tickets, stating that you’re attending the TaPRA event. (http://citz.co.uk/). This event will be run with the generous support of the Citizens Theatre Glasgow, TaPRA (Theatre and Performance Research Association), the European Theatre Research Network (University of Kent) and the Public Engagement Support Fund (University of Kent).