CHANGING THE TUNE - PROGRAM - Songs, Theatres and Social Transformations
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
CHANGING THE TUNE
Songs, Theatres and Social Transformations
PROGRAM
CHANGING THE TUNE
Songs, Theatres and
Social Transformations
Two days exploring
the songs we sing:
the social and
cultural tone of our
everyday lives,
and the role of
theatre in amplifying
voices of change.
THE PROJECT
Changing the Tune: Songs, Theatres and
Social Transformations is a collaboration
between the Caravan Next Project, a
network of European social community
theatres, represented by Teatr Brama
(Poland) who use archaic songs in
community projects, and Alice Williams who
works between theatre practice, socially
engaged projects and theory. It is supported
by Milk Crate Theatre Company and
Shopfront Arts Co–op.
The project has invited founding partners
of Caravan Next – Project Nordisk
Teaterlaboratorium (Denmark), part of historic
theatre laboratory Odin Teatret, to collaborate
with local, socially engaged theatre
companies, artists and communities.
CONFERENCE • SONGS
Redfern Town Hall | 73 Pitt Street Redfern
Monday 29 October 9am – 6pm
A platform for exchange between diverse voices:
• cultural leaders opening spaces for creative expression;
• songs from Teatr Brama;
• artists’ and theorists’ experiences of transformation through their work;
• case studies of socially engaged theatre projects and their effects; and
• dialogues with participants and community members.
It is a forum for exchanging knowledge, organisational approaches,
anecdotes, songs, and building relationships to create resonant, socially
engaged theatre projects.
WORKSHOP • THEATRES
Redfern Town Hall | 73 Pitt Street Redfern
Tuesday 30 October 9am – 4pm
An opportunity for local artists and community members to
develop theatrical skills through voice performance and tools for
socially engaged theatre.
The first session is led by Teatr Brama using archaic songs as a means
of connection. The second is facilitated by Anna Stigsgaard from Nordisk
Teaterlaboratorium working with participants’ own fragments to create a
common song in preparation for the Barter.
BARTER • SOCIAL TRANSFORMATIONS
Redfern Town Hall | 73 Pitt Street Redfern
Tuesday 30 October 5pm
In the week leading into the conference, Nordisk Teaterlaboratorium’s
Anna Stigsgaard will work with diverse groups of artists and community
members to create a Barter – a montage where theatre becomes a form
of exchange between art and everyday life, revealing new aspects of the
songs we sing.
CARAVAN NEXT
The Conference is one of 10 international conferences in the frame of
the European Social Community Theatre Project Caravan Next – co-
funded by the Creative Europe Program. The conferences aim to spread
inspiration, tools and knowledge about social community theatre based
on the experiences of the 30 Caravan Next events.
Caravan Next Conference in 2018:
APRIL Conference in Brussels, Belgium, by Nordisk Teaterlaboratorium
– Odin Teatret | MAY Conference in Seville, Spain, by Atalaya/TNT |
JUNE Conference in Szczecin, Poland, by Teatr Brama | SEPTEMBER
Conference in The Hague,The Netherlands, By ZID Theatre | OCTOBER
Conference in Yerevan, Armenia, by Atalaya/TNT :: Conference in Turin,
Italy, by UNITO/SCT Center :: Conference in TaoYuan City, Taiwan, by
Nordisk Teaterlaboratorium – Odin Teatret :: Conference in Goulburn
& Sydney, Australia, by Teatr Brama | NOVEMBER Conference in
Morocco, by ZID Theater :: Conference taking place in New York &
Bethlehem, USA, by UNITO/SCT Center.
Assorted past projects by
Teatr Brama and
Anna StigsgaardCONFERENCE PROGRAM
9am
Arrival
9.30am
Welcome to Country
9.45am
Introduction to Changing the Tune: Songs, Theatres & Social Transformations
10am
Creating Culture: Artists, Community and Common Projects – Reflections on
Caravan Next presented by Daniel Jacewicz
Natural Order: Translating Themes of Social Mobility in Performance
presented by Margot Politis
11am
Break
11.15am
Turning the Tables
presented Alison Bennet, Jess Cook & Jenny Chrissy
12.45pm
Lunch
1.30pm
Forms of Transformation
presented by Alice Williams, Kate Beckett, Martin Edmond &
Laleen Jayamanne
3pm
Break
3.15pm
Case Studies of Socially Engaged Theatre Projects
presented by Natalie Rose, Felicity Nicol, Anna Stigsgaard
5pm
Closing session
5.30pm
Dinner and drinks at the Tudor HotelCONFERENCE SPEAKERS
Daniel Jacewicz, POLAND performing with Restless Dance Theatre
(SA) as a mentee to Kat Worth in 2004.
Caravan Next representative, and
As an independent practitioner, Margot
founder and leader of Teatr Brama
has worked with Ausdance NSW,
A theatre director, actor, cultural Accessible Arts NSW, Murmuration,
animator, Daniel is founder and leader Dirty Feet, The Song Room, Ever After
of Teatr Brama, Goleniów, Poland, Theatre, and Autism Spectrum Australia.
since 1996 and leader of the Brama In May 2015 she was artist in residence
Theater Center, founded in 2012. at Tasdance, Launceston, to provide
Originator and main producer of the skills development in inclusive practice
theater festival BRAMAT and the for the company. In 2015, Margot
Laknienia Festival of Youth Theater. He established Self Help Arts, a collective
is a longtime animator for local, national of artists with lived experience of mental
and international theater activities and health support needs. Self Help Arts
projects, and winner of several major makes interdisciplinary and immersive
off-stage theater awards in the country. performance work that explores social,
Daniel is the initiator of multi-directional medical and historical theories related to
cooperation networks between local and mental health, diagnoses, and recovery.
national artists and also started many Margot has spoken at many events
international projects. about disability and mental health,
including as a panelist at the MCA
Margot Politis, AUSTRALIA Mental Health Awareness Week forum,
and has consulted on the development
Artistic Director of Milk Crate Theatre and of Arts and Health policy for government
recognised leader in NSW inclusive arts and organisations.
practice
Over 14 years of practice, Margot has Jenny Crissey, USA & POLAND
become a recognised leader in NSW
Project manager, actress, arts educator,
inclusive arts practice as a performer,
cultural animator with Teatr Brama
choreographer, and deviser of new
dance theatre. Margot spent 2009–2016 Jenny has been working with the Teatr
as the Accessibility Director at Shopfront Brama Association for 10 years, five
Arts Co-op. She began her career of which she has served on the BoardCONFERENCE SPEAKERS
of Directors. Born in America in 1976 and transparency in the public realm.
and relocated to Poland in 2010.
Jenny is a graduate of the University Alison Bennett, AUSTRALIA
of Illinois (Speech Communications,
1998) and Columbia Chicago (Film Performer, director, and Program
Direction, 2000). She has many years Manager NIDA Open
of experience as a community organizer Alison has an interest in highly physical
and volunteer coordinator and has and visual performance making. As well
worked as an educator independently as working as a freelance performer, she
and with Teatr Brama. Jenny performs, is the Artistic Director of Hurrah Hurrah,
directs performances and works as a a company that creates collaborative
cultural animator and community artist theatre with a focus physical approaches
with the Teatr Brama ensemble in both to creation. With Hurrah Hurrah she
local and international projects. has directed TRADE (Bakehouse
Theatre Adelaide/The Old 505 theatre
Jess Cook, AUSTRALIA Sydney) The Seagull (in collaboration
with The Rock’s Pop Up Project) and
Managing Director of 107 Projects,
Eugene Ionesco’s Frenzy for Two (9
creative entrepreneur and community
month residency at Sydney’s Woollahra
engager
Council). Hurrah Hurrah’s newest
Jess is a Founding Member of 107 creation, Roomba Nation previewed
Projects and thrives on collaboration, in Sydney in 2018. As an actor and
curiosity and adventure. Her passion performer, Alison has most recently been
and playfulness drive her love of seen in Terra dei Lombrichi with Chiara
innovative engagement in hybrid place Guidi (Erth/Carriageworks/Chiara Guidi),
making projects. Working in community, Join the Dots (Sydney Festival/Sydney
government and corporate arenas, Opera House & Ota City Museum
Jess has enjoyed developing and Japan) Zelos (Painted Gate Pictures),
producing artistic initiatives both locally TROUPE (by Dream Time Films,
and globally. Whilst being a petri dish of commissioned by the Bestival Music
experimentation, 107 Projects is already Festival UK w), DIG (France) as well as
setting an example of new ways of This is Not Mills and Boon (Glorious
understanding structure, engagement Thing Theatre Co), Roadkill ConfidentialCONFERENCE SPEAKERS
(Lies, Lies & Propaganda), Macondo’s Dr Laleen Jayamanne, AUSTRALIA &
Clothesline (NIDA Independent) & The CEYLON
Magic Hat (Drop Bear Theatre). She Cinema Studies teacher at the University
is also a performer with the Leftovers
of Sydney from 1990-2014
Collective and performs regularly at
festivals and events. She has also Born in Ceylon in 1947, Laleen loved to
created works of theatre with ESL act as a child like most and spent some
students at Langues-en-Scene in Paris time doing theatre and formally studying
and has facilitated workshops in theatre it in New York in the early 1970s. She
making and performance at ATYP, specialised in becoming a Witch, the
NIDA Open, Shopfront Contemporary only role (alas!), in her brief career as a
Youth Arts Centre, Casula Powerhouse, performer. Once in Australia she moved
Jigsaw Arts (UK) and Organic Arts (UK), from theatre to film, teaching Cinema
Australian Performing Arts Grammar Studies At the University of Sydney from
School, The International School Paris 1990–2014. She also edited “Kiss me
& the International Grammar School. Deadly; Feminism and Cinema for the
She has worked as a mentor with Moment” (Power Publications: Sydney,
Spark Youth Theatre for young artists 1995), and wrote “Towards Cinema
affected by mental health issues. She is and Its Double; Cross-cultural Mimesis”
a regular collaborator and performer on (Indiana University Press: Indiana,
the Creative Play and Digital Education 2001) and “The Epic Cinema of Kumar
projects at the Sydney Opera House. Shahani” (Indiana University Press:
She is currently a mentor at Milk Crate Indiana, 2015).
Theatre on the Pathways program and
was a producer for PACT Centre for
Katie Beckett, AUSTRALIA
Emerging Artists. She is the Program
Manager for Adult Short Courses at Actor and writer
NIDA Open. Alison holds a Bachelor of Kate has a passion for storytelling,
Performing Arts (Drama) from Monash both for the stage and screen. She is a
University and trained at the Le Coq founding member of Cope St Collective.
School of Theatre in Paris. WHICH WAY HOME is the first full
length play she has written. It enjoyed
an extended sold out season at BelvoirCONFERENCE SPEAKERS
as part of the 2017 Sydney Festival and screenwriter. He has written feature films
just completed a four month national Illustrious Energy (1988), Terra Nova
tour 208. She also won the Balnaves (1998) and 33 Postcards (2011); and
Indigenous Playwrights Award and was the shorts Philosophy and Earth Angel.
nominated for a Green Room Award for Books include The Autobiography of
her writing. She is currently working on my Father (1992), The Resurrection of
a number of writing projects including a Philip Clairmont (1999) and Chronicle
new TV series with Matchbox Pictures, of the Unsung (2004), which won
a Young Adults novel with Allen & Unwin the Biography category at the 2005
and has been commissioned by Arts Montana Book Awards. Subsequently he
Centre Melbourne and Belvoir to write published Luca Antara (2006), Waimarino
two new plays, also development County (2007), The Supply Party (2009),
funding through Screen Aus and Screen Dark Night – Walking with McCahon
NSW to create a children’s web series, (2011), Battarbee and Namatjira (2014)
in junction with Curious Works. As a and The Expatriates (2017). His next
performer Katie’s screen credits include book, Isinglass, is due out from UWAP
Redfern Now, Harrow, Black Comedy, in 2019. He credits the Red Moles as
The Slot, Little J and Big Cuz, The instigators of his writing life.
Marshes, Talkers, Drover’s Boy and
Blackground. Alice Williams, AUSTRALIA
Local organiser of the conference,
Martin Edmond, AUSTRALIA
independent artist, PhD candidate, and
Author and screenwriter socially engaged theatre maker
Martin grew up in the remote mountain Alice works between forms of theatre
village of Ohakune in New Zealand’s and performance with an interest how
King Country. After university study social codes transform through theatrical
he joined traveling players Red Mole, behaviour. Her works have been
touring extensively and internationally in commissioned for festivals interstate and
the 1970s. He spent another five years have toured internationally. She works
working as a lighting designer for rock in community theatre collaborations with
‘n’ roll bands. Since 1981 he has lived socially engaged theatre companies.
in Sydney, working as an author and a She has tutored and guest lectured atCONFERENCE SPEAKERS
The University of Sydney where she is How to Build a Home as well as
currently completing her Doctoral thesis Shopfront/ATYP’s Dignity of Risk which
discussing the social role of theatrical was awarded a Sydney Theatre Award
technique ‘The Production of Luck’ in the for Best Production for Young People.
Department of Art History and Film. In 2017 with post, Nat premiered Ich
Nibber Dibber in Sydney Festival, We
Natalie Rose, AUSTRALIA Are The World with Country Arts SA
in Mt Gambier as well as touring their
One third of the performance collective 2014 Sydney Festival work Oedipus
POST, and Creative Director of Schmoedipus to South America. In
Shopfront Arts Co-op 2018 with post, Nat will tour Ich Nibber
Natalie has been involved in Australia’s Dibber to the Sydney Opera House,
Contemporary Arts scene for the and Malthouse Theatre; as well as
past 18 years. She has a Bachelor Oedipus Schmoedipus to Hong Kong.
of Arts (Theatre-making) from the With Shopfront in 2018, Nat will begin
University of Western Sydney, Nepean first stage creative development with
and has previously trained at PACT the Harness Ensemble on their second
Centre for Emerging Artists and Urban work supported by Bundanon Trust to
Theatre Projects as a member of their premiere in 2019.
ensembles. Her work has been seen
nationally and internationally at Sydney Felicity Nicol, AUSTRALIA
Festival, Belvoir Theatre, Sydney Theatre
Theatre director, performance maker and
Company, Arts House (Melbourne),
Artistic Director of Spark Youth Theatre
Cambridge Junction (UK) and Brisbane
Powerhouse, to name a few. Nat has In 2012, Felicity graduated from NIDA’s
facilitated workshops for the past 18 Postgraduate Directors course and
years for young people and emerging went on to study Physical Theatre with
artists with and without disability. Nat is Phillipe Gaulier in Europe through an Ian
committed to creating work with young Potter Cultural Fund grant. She has also
people, emerging artists and community worked with internationally renowned
members wanting to share their stories company Ontroerend Goed on the
and have their voices heard. In 2017, development of their work ‘Fight Night’,
she has directed Ever After Theatre’s as well as directing the new Indian-CONFERENCE SPEAKERS
Australian work ‘Oneness: A Voice Copenhagen. She studied as a
Without a Form’ at the Opera House. director with Eugenio Barba of Odin
Since becoming Artistic Director of Teatret (2002-2005), and went on to
Spark Youth Theatre in 2014, Felicity has work independently, creating large
focused on working creatively with young social community theatre projects in
people from Sydney’s inner west in a Portugal (for Imaginarius International
way that reflects their political interests Festival, 2008 and 2009), Denmark
and varied cultural backgrounds. Next (Odin Teatret’s Festive Week, 2011,
to directing a season of ‘Punk Rock’ by 2017), and Italy (Pontedera Teatro &
Simon Stephens, she wrote and directed Teatro Korea, 2013, 2014, 2017) as
the hugely successful ‘Political Children’ well as directing theatre performances
with seasons at the Ashfield Council in Brazil, Italy and Romania. She has
Chambers (2016), ATYP as part of the always worked extensively with music
Mardi Gras Festival (2017) and Customs and polyphonic singing, seeing it as an
House in partnership with City of Sydney essential element in all theatre work.
Library (2017). In 2017, Felicity toured
Europe with the internationally celebrated
Teatr Brama, POLAND
company Mammalian Diving Reflex.
Through support from the Mike Walsh For 22 years Teatr Brama has managed
Fellowship and an Australian Council for to create a vibrant environment in
the Arts Professional Development grant, its hometown Goleniów, in Poland,
she worked with MDR at various festivals and is furthermore giving workshops
throughout Europe, employing their and performing around Poland and
distinctive methods of social-specific throughout the world. Brama’s artistic
relational theatre. work is based on original ideas
connecting voice and song with physical
Anna Stigsgaard, DENMARK theater. Teatr Brama is both a performing
ensemble and a cultural and educational
Current director-in-residence at
association that hosts EVS volunteers
the international theatre Nordisk
every year and initiates projects aimed
Teaterlaboratorium
at engaging people in collaborative
Anna is a Master in Comparative artistic processes with focus on creating
Literature from the University of dialogue and encouraging growth ofCONFERENCE SPEAKERS community, self-empowerment and beautification of surroundings. Nordisk Teaterlaboratorium - Odin Teatret, DENMARK Nordisk Teaterlaboratorium - Odin Teatret (NTL-Odin Teatret) has 50 years of artistic experience and cultural management in Europe and worldwide. As lead partner in Caravan Next, NTL- Odin Teatret has the overall coordination and management responsibility of the grand project. NTL-Odin Teatret was founded in Oslo, Norway, in 1964, and moved to Holstebro (Denmark) in 1966. The members of the theatre come from a dozen countries and four continents. NTL-Odin Teatret’s activities include: Odin’s own productions presented in Denmark and abroad; ”cultural barters” with various milieus locally and worldwide; organisation of encounters for theatre groups; hosting other theatre groups and ensembles; teaching activity in Denmark and abroad; publication of magazines and books; production of didactic films and videos; research into theatre anthropology during the sessions of International School of Theatre Anthropology; periodic performances with the multicultural Theatrum Mundi Ensemble and a range of other international theatre activities.
WORKSHOP PROGRAM
9am
Arrival
9.30am
Voice, acting and expression facilitated by Teatr Brama
12.30pm
Lunch
1pm
Preparation of the Barter facilitated by Nordisk Teaterlaboratorium’s Anna Stigsgaard
4pm
Break before Barter at 5pmABOUT THE WORKSHOP
Teatr Brama
Teatr Brama’s methodology is based on their experience working with actors and
community groups. Their work encourages individuals to search for sincere and authentic
expression in art, utilising physical and dramatic acting, rhythm and music/singing. And
they teach what they believe is most interesting to see on stage – encouraging theatrical
spirit, consciousness, and developing relationships to fellow actors.
Due to their intensive methods, the advantage of their workshops is that participants
become highly involved in a transformative process. Workshops activate and open
the group as integration is essential. The purpose of this is building trust, emotional
statements and body expression through movement, voice and improvisation exercises.
Teatr Brama workshops nurture a creative working environment for all participants and
include – theatrical training; vocal work; utilising old folk songs; working with language,
diction and enunciation; exercises to make participants conscious of their body on
stage; stage work; elementary theatrical tasks; stage and scenery construction; impulse
exercises and reactions to the acting process; performance preparation that includes all
participants of the workshop.
People of all ages and from all backgrounds are encouraged to attend. Previous
performance experience is not necessary. Workshop attendees are encouraged to bring
their own material to share, however it is not essential. The workshop will end in a show
of work/barter.
Anna Stigsgaard Nordisk Teaterlaboritorium Workshop
In the second half of the Workshop Day, we will explore the concept of theatrical barter
in preparing for the evening pop-up performance. For this part of the workshop, each
participant should bring something they can do. It could be acrobatics; skateboarding;
singing; playing an instrument; reciting a poem or a monologue; sowing a seed or
planting a tree; folding a napkin or a newspaper; or opening a bottle with a knife
We will explore how, when done in a precise way, each action has musicality and a
potential to become part of a musical score, as well as how some actions can be
multiplied by the other participants of the workshop. In the evening pop-up performance,
we will weave together the input of different artists and community members to create a
new, common “tune”.THE BARTER
Tuesday 30th October 5pm
Concluding the conference program, this pop-up public performance will present
the results of the workshop alongside interactions from local artists and
community groups.
Barter: Theatre as a Common Space
“Barter”, in a theatrical context, is a concept developed by Odin Teatret in the
1970s during a residency in the south of Italy where they asked local communities
to respond to their performances with songs, dances, poems or food – instead of
by paying money. The act of making theatre became part of a human and cultural
exchange. This concept has evolved in the past forty years in various ways, but the
core remains the same – theatre as a common ground to present with what we can
do, letting us focus less on who we are and our various identity markers.
What we can do can be woven together – a motorcycle club revving their engines
can create a rhythm for polka dancers; a local bicycle club circling with dynamo
lights on can be a scenography; women embroidering in a square can create 300
metres of lace for the audience to follow through a neighbourhood; a karate club
can perform their kata to the soft rhythm of an opera singer, revealing new sides of
both elements.
The barter weaves in and out of the theatrical space but includes us all in the
common space of doing.
– Anna StigsgaardPresented by
Teatr Brama
Alice Williams
Supported by
Milk Crate Theatre
Shopfront Arts Co-Op
Workshop facilitated by
Teatr Brama
Anna Stigsgaard
Barter facilitated by
Anna Stigsgaard
Teatr Brama
Marketing & design by
Alasdair Nicol
WITH THANKS
changingthetune.netYou can also read
