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Commissions and Workshops

by Catherine Edwards on March 16th, 2012

Couple of opportunities have come to my attention in the last few days that are worth flagging up. The first is a workshop run by Francesca Millican-Slater which ties in with her solo show Me, Myself and Miss Gibbs at the mac next week. The free workshop takes place on Monday 19th March 6pm-9pm. Here’s the blurb:

This workshop is open to members of the public and will give participants the opportunity to explore their creative skills through devising, writing and performance.

Participants are asked to bring an object that they own (this could be purchased, passed down or found) that they are intrigued by, but may have little knowledge of. They will be supported by Francesca to work through ways of researching and generating creative material in relation to that object, with the ultimate aim of creating a 2 – 3 minute story or performance. The workshop will focus on ways of devising, writing and performing original material as an individual.

Sounds a valuable workshop for writers looking at different ways of researching, making and telling stories.

The second opportunity is a little thing called Counter Culture Commissions, run by Ovalhouse. It looks a pretty open brief, with the provocation:

Anti-heroes and underdogs.
Stories told sideways.
The things under the bed.
Theatre for people with something to say.
New work for new audiences.

They’re looking to support three artists and theatre-makers via a seed commission to explore the ideas surrounding Counter Culture, with a particular response to the following questions:

Does counter-culture exist?
Who gets to be counter-cultural?
What does counter-culture mean?
What does counter-culture look like?
Can counter-culture ever be defined positively, on its own terms? Is counter-culture protest or alternative?
How can counter-culture take place in a society which prizes itself on inclusivity?
When does counter-culture become too ugly/ violent/ intolerant to contemplate?
How is counter-culture different to sub-culture to fringe culture?
How long can counter-culture stay counter-cultural before it is absorbed into the mainstream?
Who wants to be counter-cultural?
What use is counter-cultural navel-gazing in a time of economic recession/ unarmed protesters being killed in Syria/ seemingly uncontrollable climate change?
What relationship is there between counter-cultural performance and political performance?
How would an audience have a counter-cultural experience?
Is there any point in counter-cultural performance or are we preaching to the converted?
Can counter-culture ever take place in a theatre funded by the government?

Click here for the full details.

In the meantime, we’re in the final stages of confirming the programme for the Festival, so the information should be available within the next week or so. We’ll keep you posted.

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