Judita Vivas is a performer, director and theatre-maker, originally from Lithuania, who recently completed her PhD at Kent University. She has attended a number of residential workshops with DUENDE and recently created her first solo show – ‘7 Petticoats’, a poetic response to the life and legacy of Mary Wollstonecraft – in collaboration with JohnBritton.
During a second encounter with John Britton and Duende in 2014 at AuBrana
Cultural Centre in Southern France, I made one of the most significant discoveries in
my professional theatre life. It is a very simple discovery, yet it has had a profound
impact on how I view myself as an artist and how I view my work.
I discovered the significance of giving yourself permission to do things…Continue reading →
A pilot has been launched by Profs Paul Allain and Frank Camilleri which promises to be a rich resource of training with a nice balance of student, teacher, trainee voices. To feedback on its development go to:
Our Leverhulme-funded project for Methuen Drama Bloomsbury is well underway. We are now seeking your input ahead of our second stage of filming in early January.
Please go to this website https://thedigitalperformer.co.uk and click on the Physical Actor Training section to view our films and provide your responses. All feedback will be anonymous. Do please share this as widely as possible.
The digitalperformer website will be developed further over the course of 2017 to house our research material and encourage dialogue.
Many thanks in advance for your contribution, which will make a vital difference to our resource.
the A-Z team
Paul Allain, Stacie Lee Bennett, Frank Camilleri, Peter Hulton
A ‘provocation’ presented at the Future of Performer Arts Training symposium, Coventry University, UK, 4-5 November 2016.
Paul Kleiman is Senior Consultant (Higher Education) at Ciel Associates, and Visiting Professor at the School of Media and Performing Arts, Middlesex University and Rose Bruford College of Theatre and Performance.
In the process of thinking about this and putting it together, it appeared increasingly like one of those fiendish jigsaws, in which there are not only loads of pieces, but there are several possibilities, it’s not even certain if all the pieces fit together, as some are located in the past, some in the present and some in the future. In the end I gave up trying to weave a compelling linear narrative and accepted the fractured, uncertain nature of what I was confronting….what we are confronting.
So, what I have are just three of the pieces, which I’ll present in the form of three different narratives: two short ones – one from the past and one from the present – and a longer one from the future, in the hope that some connections and sense might be made.
Mei JiaoYin is a PhD candidate in “Theory and Research in Education”, at The University of Roma Tre, Italy. Her first 20 years of life were in Hangzhou, China, where she studied “Art Education” in Zhejiang Normal University. For the last ten years she has been living in Italy and teaching creativity dance. Mei recently attended one of DUENDE’s training & performance residencies and is now at The DUENDE School for just the first two weeks of the course, before returning to Italy to complete her PhD.
I started to observe my state of body, emotion and movement, without judgment, just simply observe all that is there: fear, qualities and aliveness.
I accept everything that appears though observation, just like an adventure, I don’t know where it will take me, but every moment is so exciting to explore myself. For example, these days in the Ball Game, I notice my body when I react in the moment of catching the ball: breathing becomes rapid, toes grip the earth, sometimes I try to beat the ball. By simply observing the body I can connect with my fear and it is interesting to play with fear. When is the next ball coming? I just focus on my breathing, and a new feeling comes, that moment is so wonderful! This experience gives me the opportunity to discover myself.
Please join us for an afternoon of discussions and ideas to celebrate the launch of a special issue of Theatre, Dance and Performance Training ‘On Showing and Writing Training’.
What is the difference between what you do and how you talk about what you do?
What remains unsaid? What remains undone? What gets undone?
What is impossible to explain?
Who do you think you’re talking to?
The issue brings together writing, improvisation, experimentation and images to explore how performance is made, represented and reproduced through training. In doing so, it addresses wider questions about pedagogy, the live and the remembered in relation to the practices of art.
This symposium will feature an artist’s response from the performer Karen Christopher, as well as talks and provocations from contributors Katrina Brown, Paola Crespi, Franc Chamberlain, Emma Cocker, Ysabel Clare, Joa Hug, Ben Spatz and John Hall.
‘On Showing and Writing Training’ was edited by Dick McCaw and guest-editor Mary Paterson.
Wednesday 30th November, 2 to 5 pm
University of London, Senate House, Malet Street , London, WC1E 7HU
Hannah Waters is a UK-based performer. She studied both BA and MA (Physical Acting) at The University of Kent. Her Masters dissertation explored ‘Applying the systematic principles present in constructivist artwork to a method of physical theatre composition’. As part of her time at Kent Hannah also studied at the University of California.
I came to the DUENDE School of Ensemble Physical Theatre this autumn dragging all the traits of a life spent in formal education in the UK with me, traits that I am beginning to address, unpick and challenge as I approach my third week of training at DUENDE.
This is my first foray into vocational training after four years at university: I previously undertook a BA in Drama and Theatre Studies and an MA in Physical Acting, the latter of which I completed a matter of weeks before I made the journey to Athens to begin my work. And so I have made the leap from the world of academia to another, very different world, where my perceptions of myself and my work have suddenly been challenged in ways they never have been before.
If you don’t have institutional access the articles by Electa Behrens and Tara McAlister-Viel will be free-to-access very soon. In the meantime, the editorial by Phillip Zarrilli, T Sasitharan and Anuradha Kapur and the Training Grounds editorial by Royona Mitra are free-to-access permanently.