Date & time: June 23 - 24, 10 am - 7 pm
Workshop leader: diaprojektor (Ana Martina Bakić and Ivana Knez)
Bio: Diaprojektor/ Ana Martina Bakić and Ivana Knez, born 1974, both graduated from the Faculty of Architecture at the University of Zagreb. Ana teaches architectural drawing at the Faculty of Architecture and Ivana teaches scenography at the School of Design at the Faculty of Architecture, University of Zagreb. In 2008, they established DIAPROJEKTOR – an architectural studio whose work addresses contemporary architecture, scenography, and projects that focus on relations of space and performance. They are interested in interdisciplinary discourse about the concept of scenography and temporary architecture, both as a means of critically rethinking space and as a proactive architectural tool in contemporary society.
Workshop abstract: The workshop will deal with social and temporal dimensions as active components of contemporary architecture and scenography. Participants will be able to explore, analyse, and design drawings as notations of a spatial event - in a visual comprehensive form. The event considered will be one chosen from PQ events or performances. The results of the workshop will be diagrams that visually present the spatial/performativity/social relations of an event – the positions and interaction of performers and audience in relation to space which they form and inhabit, throughout the event. Each participant will thereby contribute to documenting and creating an archive of the chosen PQ event, by means of his/her own perception and expression of the event. It will reflect the temporal component and our opportunities to note it or explore our intervention into its rhythms, tempos, and flows.
Conditions of participation: Working knowledge of English, basic drawing skills.
Date & time: June 26, 9 am - 6 pm
Workshop leaders: Mr Giuseppe Cannas, Miss Helen Casey
Giuseppe Cannas is the Head of the Wigs, Hair, and Make-Up Department at the National Theatre. He has travelled internationally with a variety of theatre and opera productions, including the Lion King and Sydney Theatre Company. He has also worked as a key make-up artist on films such as The Matrix and the Star Wars creature workshop. He is passionate about technical innovation in theatre hair and make-up practice and about passing on traditional skills to the next generation of artists.
Helen Casey is the Deputy Head of the Wigs, Hair, and Make Up Department at the National Theatre and a graduate of the London College of Fashion. She has worked extensively in British theatre and opera for twelve years, most notably creating the creature make-up in Danny Boyle's iconic production of Frankenstein, at the National in 2011. She is currently taking her Masters at Central St Martin's and is working to encourage mentoring and collaboration between technical practitioners and arts charities.
Workshop abstract: For our National Theatre hands-on workshop we will be using Treasure Island, a recent show produced at the National, as a jumping-off point to create an exciting and dramatic piece of wig design. The workshop will be a collective project for up to 20 participants, generating a large wig installation that can also be a performance setting. By using traditional wig-making techniques on a much larger scale and utilising a range of materials, we will explore the versatility of wigmaking as a technical craft for stage. We will be focusing on these practical techniques but also investigating how wigs, hair, and make-up work in the theatre is used to support the text and characters.
Date & time: June 26, 10:30 am - 5 pm
Workshop leaders: Donatella Barbieri & Michael Spencer
Bio: As costume-based scenographer, Donatella Barbieri weaves practice and theory through her research and teaching, focusing on the agency of costume, as constructed performativity and as cultural artefact. Forthcoming publications include Costume in Performance Bloomsbury/V&A) or Performativity and the Historical Body (Studies in Theatre and Performance, Routledge). Donatella is Senior Research Fellow in Design for Performance, she is a PhD supervisor at London College of Fashion (UAL), while also teaching in the MA Costume Design for Performance programme, which she founded. In 1991, Michael Spencer received MA in Theatre Design. He was the Course Director of the BA Performance Design & Practice course at Central Saint Martin's College in London for 15 years and is currently undertaking the same role for the equivalent post-graduate programme. His practice reflects the shift from Theatre Design as visual accompaniment, to performance design as authorship. He has presented at USITT conferences, represented the UK at the OISTAT symposiums in Moscow and Riga, co-designed the last THREE National UK schools exhibits for PQ, and written various articles for publications such as SBTD 'Blue Pages' journal and Performance Magazine.
Workshop abstract: The workshop takes the form of a live experiment intended to question if costume alone can constitute a text with meaning and narrative. Participating students are asked to come to the workshop dressed as a persona which they have created, and which is not them. These persona must appear to be real, in that contemporary clothing is worn, suggesting certain attributes/roles for the 'wearers', e.g., smart business woman, very poor young man, etc. After each persona has been introduced, pairs of students then go out into a designated public area nearby the workshop site and conduct three performative experiments interacting with the public. During these interactions, each persona is discretely watched by their observer, who records the interaction – persona and observer then swap roles. The prescribed interactions are identical, the attempt being to test the effect of the selected clothes/costume and how, if at all, the reaction from the public changes. This part of the workshop is not about acting, but simply about 'being' in the clothes in public, and having their effect analysed objectively. Observers may record the interactions via written descriptions, photographs, videos, etc., as appropriate, and as long as they themselves are not observed. The workshop concludes back in the base room, where the documentation of the observers is collated and displayed for discussion.
Conditions of participation: An interest in/experience of designing costume in any context (i.e., live theatre, film, television etc.).
Date: June 19, 10 am - 3:30 pm
Workshop leader: Christopher Roman
Bio: Christopher Roman began his formal training with The School of Cleveland Ballet, continuing at The School of American Ballet in New York City. Christopher was a co-founder, choreographer, and performer for the company 2+ with former Wooster Group video designer Philip Bussmann, and has created work for The Russian Ballet Theatre, The Pennsylvania Ballet, Philadelphia Fringe Festival, and others. William Forsythe's You Made Me a Monster was created with Mr. Roman and he is the 2009 recipient of Germany's highest theatre honour, Der Deutsche Theaterpreis DER FAUST, for best performance. As a ballet master, choreographic assistant, and administrator, Christopher has staged the works of William Forsythe internationally and been a teacher of classical ballet and improvisational techniques. He is currently the curator for the MFA European Studies at Hollins University and the Head of Education for The Forsythe Company.
Workshop abstract: For the dancer, the body is a thinker and resolves problems as a result of entrainment, perception, and awareness. The body and brain function together in the performance of choreography and, most notably in an improvisational field, the body often discovers solutions that immediate cognition may take time to catch up to. The purpose of this workshop is to: illustrate just how unaware the average person is of one's own body; identify it as the thing necessary in delineating time and space; discover the point where the mind informs the body, and recognize the point where movement itself is possessed of its own thought. Improvisational strategies, operations, tasks and modalities will be employed, to make basic distinctions between the parts of one's own body, engage relationally with the bodies of others, and provoke choices that define time and space.
Date & time: June 20 - 21, 9 am - 7 pm
Workshop leaders: Christina Lindgren, Anne Grete Eriksen, Signe Vasshus
Christina Lindgren has designed costume and scenography for performances in various genres. She studied at the Oslo National Academy of the Arts (KHIO) and Universität der Künste Berlin. She now works as a Professor in Costume Design at KHIO and is in charge of programming the BA- and MA-programmes in Costume Design.
Anne Grete Eriksen is a choreographer and professor at Oslo National Academy of the Arts where she is leading the master in choreography program. Anne Grete has extensive experience in choreography for a wide range of choreographic creations for dance, theatre, opera, film, and for different stages and audiences. Her work in both Norway and internationally is cross-disciplinary focusing on performance and design.
Signe Vasshus works at the costume workshop of KHIO, and has also designed costumes for numerous performances. The three collaborated on a five-week interdisciplinary workshop, “Clothes for Dance: interdisciplinary research" at KHIO autumn 2014.
Workshop abstract: The sum total of clothes, body, and movement can be called a figure/ an appearance/ a “gestalt". Costume designers and choreographers have differing knowledge about what this figure indicates. An exchange of knowledge enhances an expanded and mutual understanding. This workshop is a laboratory where clothes for dance are examined in semiotic, technical and sculptural perspectives. With the use of traditional and non-traditional clothing, as well as unconventional materials, a collection of widely different costumes will be tested and partly produced. Through simple choreographies (maximum 2 minutes), the same movement sequence is done in different costumes. The effect of the interaction between the clothes, movement, and body will be discussed. A scientific taxonomy and precision will be sought. The day ends with a 1.5 hour lecture on the theme “Costumes for ballet and modern dance in Europe and America, from the 1600s to today", by dance researcher Sidsel Pape and Christina Lindgren.
Conditions of participation: This workshop is primarily for costume designers and scenographers. Dancers, choreographers, and actors could also benefit from the workshop.
Date & time: June 21, 8.30 am - 12 pm
Workshop leader: Kirsten Dehlholm
Bio: Kirsten Dehlhom was born in Denmark in 1945. For 9 years, she worked with Billledstoftteater (Theatre of Images), where she was responsible for the artistic direction. Dehlholm is the founder of Hotel Pro Forma: a vehicle for visual composition at the boundary of performance and exhibition. Every new production is a new experiment and contains double staging; partly of its contents and the space and partly of the notion of theatre itself. Kirsten Dehlhom founded Hotel Pro Forma in 1985 and has served as its artistic director ever since. Her work includes creating concepts and directing performances and exhibitions for Hotel Pro Forma as well as directing opera and theatre for institutional theatres.
Workshop abstract: Gravity and perspective are two attractions that intersect in a world that is organized for our horizontal gaze. Taking our departure from a few lines of text, workshop participants will stage some scenes on the floor of a high-ceilinged space. The scenes created will have to be seen from above. The challenge of the workshop is to create simple situations that unceasingly oscillate between surface and depth, falling and hovering.
Date & Time: June 25, 10 am - 5 pm
Workshop leader: Guy Gutman
Bio: Guy Gutman studied at Ecole de Beaux Arts in France and at Central Saint Martins College in London. In recent years, he has been creating performance art works and experimental theatre in Israel and England – writing, directing, and designing space and sound. Works in Israel with Ensemble209 include 'Second Law of Thermodynamics', 'Old Wives Tales', 'Amplifier', 'Remix', 'Cookies', and 'West of the Moon'. He has taught at Central Saint Martins College, headed the BA Scenography programme at Shenkar College of Design, and is currently Director of the School of Visual Theatre.
Workshop abstract: The workshop proposes a process for devising performative attitudes and scenographies for an historical event. From the Trojans to Henry V to Hate Radio, the stage is always a time-machine, a space where something is repeated, re-enacted, relived; however, contemporary post-structuralism introduced conflicting, blurry models that deconstruct, erase and split. They divide between time and space, between action and document, performance and theatre, between IS and AS. In a reality that only produces modules of simulacra, the stage must be the last remaining venue for presence, action and transformation. In the workshop, we will attempt to overcome our postmodern shyness and perform history. We will read Nietzsche and Foucault, we will be epic and abstract; we will use music and weather; we will be political; we will move objects and bodies; and we will rename places. Finally, we will approach history as a shared space of otherness, of multiple historical geographies, of shifting points of views and quantum storytelling. The emphasis will be rather on scenographic inventions than on historical accuracy.
Date: June 22, 10 am - 6 pm
Workshop leader: Laurin Leon
Bio: Architect Laurin Leon, who was born in Lima (Peru), has been developing conferences and exhibitions in America and Europe. He combines elements of digital art, sequential art, literature, music, and mechanical installations into projects of spatial interaction. His work has been recognized and awarded in London, Germany, Italy, Spain and the United States, for its development of alternative ideas in the generation of fluctuating architectural space. Additionally, he is a professor at the School of Architecture of the Ricardo Palma University in Peru, where he has spent 15 years focused on architectural and structural design in the realization of alternative spaces, with ancient regional references, using polymeric materials assisted by parametric software.
Workshop abstract: This workshop is concerned with a mythological and technological study of the Cahuachi site, a major ceremonial centre of the Nasca culture in Peru, which embodies the mythology of the region, the specific cosmological view of life, and the role of communal space in the ancient civilisations of the Peruvian desert. Communal space is perceived as a mental rather than concrete space, with traces lying in connections to the residents, rituals, seasonal periodic events, and the geometric and anthropomorphic drawings that have survived millennia. Cahuachi combines all of the above with specific, peculiar technology that was used to build different stages of its assembly, therefore escaping all formal conditions of architecture as we know it today. The same manner will be employed in the workshop: escaping formal conditions through ancient references employed in architectural and structural design.
Date & time: June 18, 10 am - 11:30 am
Workshop leader: Man-tung Tsang
Bio: Born in Hong Kong, Man-tung Tsang is a renowned scenographer in Asia and one of the Scenofest 2011 workshop leaders (White Paper Workshop). He is an accomplished artist who also serves as a director, actor, photographer, painter, musician and curator. Tsang has 20 years of experience in scenography and theatre education and has designed over 200 sets. Renowned for his conceptual and minimalist style, Tsang received numerous awards, including Honourable Mention for Set Design from World Stage Design 2009. He was a Special Research Fellow at Yale University in 2010. Tsang has practiced meditation for years, integrating Tai Chi and Yoga in movement training, and uses Himalayan Singing Bowls in his workshops, incorporating theatre with Zen and Tao.
Workshop abstract: Wardrobe-Pranayama-Singing Bowl-Tea Ceremony-Creation-Meditation. ScenoZen introduces a ceremony of scenography with senses and Zen. Participants will experience a meditative state throughout the process, focusing the mind on one single point – mindfulness, while expressing creativity. A set of Creative Tools and Meditative Tools will be provided as an accompaniment. Participants will be guided to strike three strokes on the cardboard provided; set design work will be created within a short time. By imagining themselves in the space they created, participants will know the action, understanding the story, breathing and living with the space. A new, yet primitive way of creation, the whole process brings one to the present moment, and makes one be peaceful. At the end, Body, Soul, and Theatre become one.
Date & time: June 23, 10 am - 6 pm
Workshop leader: Fitz Patton
Fitz Patton is the founding editor of CHANCE Magazine. He is a sound designer and composer working in New York City. He has scored/designed over 300 productions, 7 of them on Broadway. Camille Assaf, a Chance design editor, is a Franco-American costume designer for opera, theater, dance, film and events. She is particularly interested in the power of shape and materials as tools to convey emotions, stories and ideas. Martha Wade Steketee, general editor and monograph editor of CHANCE Magazine works as dramaturg, critic and editor. She's current member of the American Theatre Critics Association, and the League of Professional Theatre Women and the Literary Managers and Dramaturgs of the Americas. Plamen Petkov, principal photographer of CHANCE Magazine, is a NY based studio and location photographer specializing in still life, beauty, fine art and assignment, as well as documentary and theater set and costume photography. Isabella F. Byrd, lighting editor of CHANCE Magazine, is a Brooklyn based Lighting Designer for live arts with designs ranging from theatre and opera to experimental installation. With a special interest in developing new work, her practice is rooted in rehearsal inspired sketches, travel, research and archives, all of which inform her contributions to CHANCE Magazine. Emilio Martínez Zurita de la Garza, director of social media of CHANCE Magazine is a scenographer based in Mexico City.
The mission of Chance is to develop and deepen a strongly visual dialogue about theater and performance from the perspective of design, photography, architecture, art, and music to people worldwide. This workshop will provide a unique point of encounter that will allow students and artists to have an exceptional conversation that can only happen within SpaceLab.
This workshop will be led by NYC based editor Fitz Patton and other contributors of Chance in a seminar-style format. Through the analysis of key examples of superior visual documentation of scenography, we will encourage the workshop participants to engage in a deep, sincere, and penetrating conversation on how honest journalism, a strong curatorial eye, and great photography can transform the way we see and think about performance and the people who design for it.
Date & time: June 26, 11 am - 5 pm
Workshop leader: the vacuum cleaner (UK)
Bio: The vacuum cleaner is an art and activism collective of one. He employs various creative tactics to mock and disrupt concentrations of power. Through site-specific performance, street-based intervention and film, the vacuum cleaner empowers his audience to address socio-political issues including consumerism and mental health discrimination. From one-man shows to large-scale participatory actions, his approach is variously subtle and extreme, but always candid, provocative and playful. His work has been commissioned and exhibited internationally, including at Tate Modern, ICA, Nottingham Contemporary, the Centre for Contemporary Art Glasgow, the Liverpool Biennial, the Museum of Contemporary Art (Chicago), Wooster Collective (USA), Anti Festival (Finland) Homo Novus (Latvia) Centre d'Art Contemporain (Switzerland).
Workshop abstract: Madlove - A Designer Asylum - begins with a question. 'If you could design your own asylum, what would it be like?' The project invites those with and without mental illness to reconsider - and ultimately change - how mental health is treated through design.Drawing on his personal experience of mental health, notorious UK performance artist and political activist 'the vacuum cleaner' asks what role artist and designers can have in effecting social change, specifically within mental health. Through this playful and informal workshop you will be introduced to his artistic practice and work specifically in helping design a blueprint for a radical new approach to mental health hospitals, to help create the most crazy, bonkers, mental asylum we dare dream of.
Date & time: June 21, 9 am - 6 pm
Workshop leaders: SON:DA + TRANSNATIONAL GUERILLA ART SCHOOL
Bio: son:DA is the creative alliance of Metka Golec, who studied architecture in Graz and photography and fine arts in Vienna, and Miha Horvat, who studied anthropology and film in Ljubljana and fine arts and new media in Vienna. They have been collaborating since 2000, when son:DA was engaged as a founding member of the Klon:Art:Resistance group. As an internationally recognised contemporary arts group, son:DA also engages in stage design and curatorial projects. It runs a semi-public space Ex-garage, with up to 6 international exhibitions annually. It has also established the son:DA Foundation, as a reaction to contemporary arts production conditions in Slovenia. Beside participating in numerous international exhibitions, son:DA has recently prepared solo exhibitions in Maribor, Sofia, and Vienna. In 2007, it exhibited at the 27th Biennial of Graphic Arts and in the same year son:DA received the Golden Bird Award and the OHO Group Award.
Workshop abstract: SHARING, USING, OVER-TAKING, OCCUPYING, CREATING, MAKING, POSSESSING, ENTERING, COLONIZING, GOVERMENTING, ESTABLISHING, DESIGNING, PARTICIPATING, INVADING, INTRUDING, PREPARING, UNDERSTANDING, DOING REAL AND UN-REAL SPACE-TIME-CONTEXTS.
Date & time: June 23, 10 am - 3 pm
Workshop leaders: TAAT (Gert-Jan Stam, Breg Horemans)
Bio: During their successful cooperation on KHOR I, a do-it-yourself theatre installation for the Worldexpo Floriade 2012 in Venlo, Dutch theatre maker Gert-Jan Stam and Belgian architect Breg Horemans discovered how their respective disciplines could challenge and enrich each other. They started working together as TAAT, operating on the cutting edge of theatre, architecture, the visual arts, and design, with projects such as KHOR II and HALL33. Gert-Jan studied at the Gerrit Rietveld Academy and the Amsterdam School of Writing. His plays, such as 'I Love Guns' and 'OK OK', have received international recognition and been translated into other languages, including Czech, German, Croatian, Arabic and Japanese. Breg Horemans studied Architecture at St-Lucas Gent (B) and works as an architect at Wiel Arets Architects. He has worked with artists such as Eleni Kamma, Maarten Westra Hoekzema, and Oystein Johansen.
Workshop abstract: The Disposition I workshop is a practical workshop investigating the relationship between architectural positions, theatrical positions (or characters) and social positions. Using the existing space as a canvas, this workshop explores how emotional states influence physical distance and proportion. The starting point are the four positions that lay at the heart of KHOR II. Elements of Forum Theatre and Sensory Labyrinth Theatre will be used to shape the dramatic potential of the architectural environment. Set up as an 'open source' exchange of ideas, information, and experience, it adds to the development of a broader concept of 'architectural dramaturgy' or 'narrative space'.
Conditions of participation: This workshop is aimed at participants from the field of performance (theatre, scenography, dance…) and the field of architecture(architecture, urban planning, interior designers…). An equal number of participants from each field is required. It is for Masters and PhD students only. Basic knowledge of English.
Date & time: June 25, 10 am - 5 pm
Workshop Leaders: Jessica Bowles and Gwenoele Trapman
Jessica Bowles is a Principal Lecturer at Royal Central School of Speech and Drama in the UK, where she leads an MA in Creative Producing as well as a number of partnership projects for the School.In 2013 she completed an AHRC funded Creativeworks project with Battersea Arts Centre, London researching 'Scratch' performance and its potential to be developed with audiences online and is currently working with colleagues at the Amsterdam Theatreschool (NL) exploring the role of Creative Producers. She is the Artistic Leader for SpaceLab, the educational component of the Prague Quadrennial 2015.
Gwenoele Trapman is Artistic Leader of the Opleiding Productie Podiumkunsten at the Theaterschool in Amsterdam. She is artistic Director and Head of Production management at the Grachtenfetsival, head of production at theatre company Hollandia and has worked as head of production and music at the Holland festival.
Workshop Abstract: You want to make new work, but how will you make it happen? As funding for the arts has reduced across Europe, how can we still make exciting, relevant work that connects to audiences and is going to pay enough to keep us working ? How do we best engage audiences with our work? This playful and practical workshop will get you started working on your ideas for producing either your own work or the work of a company. The workshop will include: developing and shaping your ideas, understanding your audiences, pitching your ideas, and the basic principles behind making your practice financially sustainable even without government funding.
Conditions of participation: The workshop is for anyone, whether your perspective is as an artist or theatre practitioner . Please bring initial ideas, photos etc. of ideas you are working on or have been thinking about.
Date & time: June 25, 10 am - 4 pm
Workshop leader: Joanna Rajkowska
Joanna Rajkowska is a Polish artist based in London, working with objects, films, photography, installations, ephemeral actions, and widely discussed interventions in public space. She critically engages with the legacy, politics and aesthetics of land art and employs the strategy of unfamiliarity as a political tool whilst focusing on the body and language as the foundations of social relationships. Her works often function as social sculptures in which collective memory, tensions and desires might be manifested as public monuments interwoven into the urban tissue. As Joanna Rajkowska's works are materializing through 'urban legends', press-cuttings, gossip and media debates, their form is always 'unfinished', so there is a possibility they will evolve and mutate beyond the artist's initial intentions. Her public projects include comissions by CCA Zamek Ujazdowski (2007, Oxygenator, Poland), Trafo Gallery (2008, The Airways, Hungary), Museum of Modern Art in Warsaw (2009, Ravine, Poland), The Showroom (2010, Chariot, UK), British Council (2010, Benjamin in Konya, Turkey), 7th Berlin Biennale (2012, Born in Berlin, Germany), Royal Society of Arts, Citizen Power Peterborough programme's Arts and Social Change, Arts Council England (2012, unrealised project, The Peterborough Child, UK), Frieze Projects 2012 (2012, Forcing a Miracle, UK) and PEA Birmingham (2014, Soon Everything Will Change).
How to Build a Chakra is an attempt to find and examine a vibration of a place, as every site, object or entity has its own vibration or sound. To do so, we will need a person with sensitivity that allows them to detect and reenact the sound - a shaman. We will try to repeat and record the sound individually in order to have a multitude of voices creating a vibration - a chakra.