The practice-based element of my research has got off to an unexpectedly flying start. I’m really excited to announce a first-stage experiment with Moll, impro and drag kings is taking place in the Sam Wanamaker Playhouse on March 30, after After Edward, as part of the Globe’s Voices in the Dark: Pride, Then and Now festival.
All the performers will be participants of Through the Door, which is supported by Improbable and Shakespeare’s Globe, and directed by Angela Clerkin / Clerkinworks.
Artwork by Ellan Parry for Shakespeare’s Globe.
Back in October I started a practice-based PhD at Brighton Uni, funded by TECHNE and supervised by Dr Kate Aughterson, Prof. Deborah Philips and Dr Andy Kesson (he’s at Roehampton). It’s about being in love with someone who’s been dead for 350 years, and trying to meet her through improvisation. It takes in an emerging strand of queer theory called Wildness, some queer historiography, a lots of Early Modern London/theatre/life research, and of course some impro – Improbable are my research partner.
I’m attempting to keep up a blog of ponderings, events and what-you-will as I go along, so use the ‘Moll’ tag to follow the project.
Created and directed by Angela Clerkin (Clerkinworks) and supported by Improbable, and now Shakespeare’s Globe, Through the Door is a series of improvisation workshops for women & non-binary folk, exploring impro in theatre, comedy, storytelling, devising, making and writing. We will experiment with being heroes and villains – putting our own stories centre stage. Oh, and practice being confident and generous as we fuck up. Now is the time to find out what happens when we step through the door…
More details over at Improbable.
Watch this space for some very exciting performance news!
I’m so excited about this new project with composer Catherine Kontz. It’s been brewing for a few years, and we are extra-pleased to be funded by the PRSF Women Make Music award, and supported by Tête à Tête – launching as part of their Opera Festival 2018.
The project is an audio dream guiding you along the lost River Fleet, from its source on Hampstead Heath to where it meets the Thames at Blackfriars. There’s text (both spoken and sung), binaural recording, found sound and music, as well as small performative actions that the listener can choose to take part in whilst they walk the route.
Print artist Rowanne Anderson (Rowan Tree Print) is making us a rather beautiful map to help people find their way and show them where the listening points are.
Lots more info lives over on Catherine’s site, which is also where you’ll find the album and map to download from July 27.
I facilitated a workshop for Doctoral students and other guests at Brighton University as part of a two-day programme exploring Undisciplined Methods. Drawing on Lynda Barry and various other automatic writing, meditation and improvisation techniques, the workshop enabled 20+ people from a variety of academic and practice backgrounds to co-operatively create a large-scale drawing. The workshop allowed everyone to make marks in an uninhibited way, responding to the materials, the space and each other.
Photograph by Branwen Lorigan
I’m embarking on a new project with illustrator and writer Viviane Schwarz, and theatre designer Ellan Parry. We’re offering workshops for all ages on all sorts of exciting creative processes. Find out more here: http://krakenart.co.uk
I’ve provided the monthly blog for Improbable, following our move to Somerset House. Some musings on visible and invisible success. Here it is.
Here’s a new project I’ve been slowly growing for the last few months. It’s a gig/theatre/text/music/installation mash-up about the Arctic, involving a theatre designer who is also a fine artist and musician, a choreographer who is also a performer, a musician who’s also a writer, another musician who’s also a superhero, and me. We’re sailing into unchartered waters. Read the log-book here:
I’ve been looking for ways to get away from the page or screen with my writing, where it gets a bit precious and fiddly. Whilst in the Welsh hills, I thought I’d try out some ideas about text in landscapes. The results are below – it’s an interesting start but I’d love to get back out there and with some different materials and work at different scales. I used rolls of greaseproof paper for this, which was sturdy enough when wet, and pleasingly translucent under the water. It was too windy to try anything with the 16m poem I wrote out; this one-line piece was about 6m long and already quite unwieldy and fragile in the stiff mountain breeze.
Pictures almost entirely by the ever-patient Timothy Bird.
It’s been a busy August with our second development stage of The Observatory (previously A Quiet Life) – my new multi-sensory opera for people who can hear and people who can’t.
This time round the focus was one completing Stephen Bentley-Klein’s score, and allowing choreographer Mark Smith more time to develop the sign language element of the piece. You can find out all about it here. We performed an unstaged, concert version of the complete piece at the Greenbelt Festival on Monday 26th. Audio and video from this should be available soon.
I’ve also written a little blog post for Improbable on Listening. Go have a read: