‘Theatre Still Has the Power to be Provocative’: An Interview with Jim Culleton, Artistic Director, Fishamble: The New Play Company

2021 ◽  
Vol 51 (2) ◽  
pp. 200-208
Author(s):  
Jim Culleton ◽  
Emma Radley
Keyword(s):  
Artistic Director

Intersections

2020 ◽  
Vol 22 ◽  
Author(s):  
Chadwick Auriol Gaspard
Keyword(s):  
Hip Hop ◽  
Contemporary Dance ◽  
Skill Sets ◽  
Cultural Phenomenon ◽  
Dance Company ◽  
Short Time ◽  
Artistic Director ◽  
New System

Hip Hop is a cultural phenomenon that is constantly evolving and has made a worldwide impact in a short time. While it continues to change Hip Hop at its core remains the same. Victor Quijada artistic director of the Rubberband Dance company posed the question of “What more could Hip Hop be”. With those words in mind the focus of my research is to examine the movement and concepts/ideologies of the breakdancing subculture of Hip Hop; to create a fusion with contemporary dance. As such a brand-new system of movement with its own concepts and life could be created. The dance world is continuously shifting, and different skill sets, as well as ideologies, have been valued at different times and places. This exploration will challenge the mainstream ideals of what is currently considered “technique” and “foundation”

In Conversation on the Royal Exchange Theatre, Manchester

2020 ◽  
Vol 36 (4) ◽  
pp. 369-383
Author(s):  
Rachel Clements ◽  
Sarah Frankcom
Keyword(s):  
Caryl Churchill ◽  
Cultural Organization ◽  
The University ◽  
Artistic Director ◽  
University Of Manchester ◽  
The Way ◽  
Death Of A Salesman

Sarah Frankcom worked at the Royal Exchange Theatre in Manchester between 2000 and 2019, and was the venue’s first sole Artistic Director from 2014. In this interview conducted in summer 2019, she discusses her time at the theatre and what she has learned from leading a major cultural organization and working with it. She reflects on a number of her own productions at this institution, including Hamlet, The Skriker, Our Town, and Death of a Salesman, and discusses the way the theatre world has changed since the beginning of her career as she looks forward to being the director of LAMDA. Rachel Clements lectures on theatre at the University of Manchester. She has published on playwrights Caryl Churchill and Martin Crimp, among others, and has edited Methuen student editions of Lucy Prebble’s Enron and Joe Penhall’s Blue/Orange. She is Book Reviews editor of NTQ.

Singing back to the Bard: A conversation on Desdemona with Rokia Traoré

2020 ◽  
Vol 13 (3) ◽  
pp. 337-344 ◽  
Author(s):  
Valentina Rapetti
Keyword(s):  
African American ◽  
Professional Training ◽  
Music Industry ◽  
Political Activism ◽  
Nobel Laureate ◽  
Cross Cultural ◽  
High Quality ◽  
Non Profit ◽  
Artistic Director

Rokia Traoré is a Malian singer, guitarist and composer, known worldwide for her artistic syncretism and political activism. Her distinctive style blends elements of traditional Malian music with blues, folk and rock to address contemporary geopolitical and humanitarian issues. She is the artistic director of Fondation Passerelle, a non-profit organization she founded in 2006 to support young African singers and musicians by offering them high-quality professional training and work opportunities in the music industry. In this interview, she discusses her experience as songwriter and performer in Desdemona (2012), a cross-cultural theatre adaptation of William Shakespeare’s Othello staged by American director Peter Sellars, with texts by African American Nobel Laureate Toni Morrison, sharing some intimate memories and elaborating freely on the role of performers and the importance of focused listening in live stage productions.

scholarly journals The royal New Wave: Aubrey Mellor and Queensland Theatre Company, 1988–1993

2015 ◽  
Vol 22 (2) ◽  
pp. 157-167
Author(s):  
Karen Hands
Keyword(s):  
Artistic Identity ◽  
New Wave ◽  
National State ◽  
Cultural Planning ◽  
Theatre Company ◽  
Artistic Director

AbstractWhen Aubrey Mellor returned to Brisbane in 1988 to become the second artistic director of Queensland Theatre Company (QTC), the company had been under the direction of a British-born and trained director since its formation in 1969. QTC was part of the national state theatre company network established as a result of postwar cultural planning. The network was charged with promoting national drama and producing theatre to a high artistic standard, but this objective imposed very specific constraints around the companies' programming. This was particularly observable at QTC: the company had been culturally and geographically distant from the New Wave movement that emerged in Sydney and Melbourne between 1968 and 1981. Mellor brought his experience of working in key institutions during this movement to QTC where he pursued a personal mission to develop Australian playwriting. During his five-year leadership he transitioned the artistic identity of the company to a more contemporary artistic framework.

scholarly journals Fostering of National Identity in Emigration Through Lithuanian Folk Dance

Pedagogika ◽  
2014 ◽  
Vol 114 (2) ◽  
pp. 191-199
Author(s):  
Laimutė Kisielienė
Keyword(s):  
National Identity ◽  
North America ◽  
Third Wave ◽  
Folk Dance ◽  
Dance Teacher ◽  
Identity Maintenance ◽  
Dance Teachers ◽  
The First World War ◽  
Artistic Director ◽  
First World

he article analyses the Lithuanian folk dance as a means of national identity fostering in Lithuanian diaspora in North America. National identity maintenance especially in emigration is topical problem which started with the first wave of emigrants into US after the First World War. The evolution of Lithuanian folk dance in North America can be divided into two parts.  The first period involves Lithuanian dance origins in North America, where in 1925 the first Lithuanian dances were captured in Lithuanian operas and choral performances. The first and second waves of emigrants didn't have chance to experience folk dance revival period in Lithuania, so they tried to dance dances which they knew from their parents and grandparents. Therefore dance repertoire was not abundant. During this period national dance activities were enlivened and enriched only by M. Baronaitės arrival from Lithuania seeking to maintain national identity and to expand dance repertoire.The second Lithuanian folk dance development period in North America covers the period from 1944, when the third wave of emigrants, who has experienced national revival in Lithuania,  joined  the  Saturday  schools  and  established  Lithuanian  dance  ensembles  which  expanded Lithuanian folk dance repertoire in North America. Most of the national dance up holders were teachers, who acquired dance knowledge in primary school physical education teacher courses or by teaching children dance at Lithuanian schools.Lithuanian  Folk  Dance  Institute  (LFDI)  is  an  important  cultural  institution,  which aims  to  explore  and  spread  Lithuanian  folk  dances,  to  promote  the  related  customs, games, folklore, folkmusic and costumes hereby encouraging Lithuanian national identity. The focus of LFDI is appointed to organization of folk dance festivals, selection of artistic director and program approval. One of the major challenges of LFDI is to hold annual dance teacher seminars, which seek to improve folk dance teachers’ competences.

scholarly journals Karlovy Vary 2004

2004 ◽  
Author(s):  
Ron Holloway
Keyword(s):  
Outstanding Contribution ◽  
Film Festival ◽  
Vaclav Havel ◽  
Roman Polanski ◽  
World Cinema ◽  
Official Opening ◽  
Artistic Director ◽  
First Time ◽  
To Receive ◽  
Political Figure

KARLOVY VARY INTERNATIONAL FILM FESTIVAL 2004 For the Czech media the 39th Karlovy Vary International Film Festival (2-10 July 2004) was something of a sensation. Václav Havel, the country's ex-president and most popular political figure, was on hand for the official opening to receive a moving standing ovation. Later, Václav Klaus, the current Czech president, also showed for the closing ceremonies. To add to the festivities, Miroslav Ondříček, Miloš Forman's ace cameraman (Oscar Nominations for Amadeus and Ragtime) was honoured with an Award for Outstanding Artistic Contribution to World Cinema (together with Harvey Keitel and Roman Polański). The Prize of the Karlovy Vary Region was given for the first time to Jiří Bartoška, the festival codirector. And the Ecumenical Jury honoured Eva Zaoralová, the festival's artistic director, an Award for Outstanding Contribution to the Karlovy Vary International Film Festival. For the second time in a row, the Crystal Globe,...

scholarly journals Re-imagining Creative Music-making

2021 ◽  
Vol 14 (1) ◽  
Author(s):  
Parmela Attariwala
Keyword(s):  
Music Making ◽  
Creative Music ◽  
Artistic Director ◽  
Creative Music Making

Within days of Vancouver locking down in March 2020, NOW Society’s artistic director, Dr. Lisa Cay Miller, crafted an imaginative means of engaging local and international improvisers in an online series, Creative Music Series #8 (CMS#8). The series showcased not only the musicians’ improvisatory skills, but their compositional abilities. Drawing upon conversations with musicians who took part in CMS#8, Parmela Attariwala reflects upon how the series shaped the early days of the COVID-19 pandemic for her and fellow improvisors involved in the series. She also considers the artistic potency enabled by the mode of creation developed for CMS#8.

From a Transient to a Resident: The Acco Festival of Alternative Israeli Theatre, 2001–2004

2007 ◽  
Vol 51 (4) ◽  
pp. 47-67 ◽  
Author(s):  
Dorit Yerushalmi
Keyword(s):  
Artistic Director ◽  
First Time

As artistic director of the Acco Festival (2001–2004), Atay Citron turned the Festival into a showcase of intercultural and interdisciplinary events. Citron established Acco as the site for Arab-Jewish dialogue, a place where Jewish and Arab artists worked together for the first time.

Transit Festival, Leuven, Belgium

Tempo ◽  
2016 ◽  
Vol 70 (276) ◽  
pp. 85-87
Author(s):  
Peter Reynolds
Keyword(s):  
Artistic Director ◽  
Important Milestone

This year's Transit festival (the sixteenth) marked an important milestone, as Maarten Beirens took over as Artistic Director from Mark Delaere, who has steered it through the last 15 years. Delaere very much devised the festival's format, with its hard-edged programming and quirky informality, which one feared might be lost, but any worries about drastic changes under the new regime were soon allayed. Indeed, Beirens is to be congratulated on pulling off one of the most successful festivals I can remember, with an almost unbroken series of strong, inventive works and performances.

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